9 Popular Arrangements for Piano solo. Par BEETHOVEN LUDWIG VAN / ARR JEAN KLEEB. Beethoven often incorporated musical influences from other countries in his works. Jean Kleeb has picked up on this idea and developed it further in these arrangements for piano solo. In his tributes to Beethoven he emphasizes ethnic attributes such as 'alla turca” or he coaxes exotic rhythms out of certain works with playful exaggeration. At other times, he simply enjoys demonstrating the stark differences between the 'classical” piano piece and world music. Enjoy pieces in samba style, with Cuban rhythms or jazzy-Arabic-like scales. These pieces are fun to play, making Jean Kleeb's 'Beethoven Around the World” a true musical pleasure. About the composer: When it comes to music, Jean Kleeb is a globetrotter. A Brazilian of Swiss descent, he has been living in Germany for many years. Travelling the world with his music, he is always seeking new sources of musical inspiration. As a composer, pianist, choral conductor and lecturer, he regularly amazes and entertains his audiences with his boundless musicality and compositional ease. / Date parution : 2019-06-14/ Répertoire / Piano

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company

Sonate nach der Serenade G-dur KV 525 / based on the Serenade in G major K. 525. Par MOZART WOLFGANG AMADEUS. Editeur(s) d'origine: Stark, Ludwig/ Répertoire / Piano

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière

Nouvellement révisées et transcrites, cette compilation de Richard Walters. / Voix / Partition