Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.6222
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222).
ISBN
9790230662222. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo.
SKU: BA.BVK02488 Positions on the freedom of the arts from Wagner to t...(+)
SKU: BA.BVK02488
Positions on the
freedom of the arts from
Wagner to today.
Edited by Holger von
Berg, Katharina Wagner,
and Marie Luise Maintz.
Hardback. Diskurs
Bayreuth 2. Book.
Baerenreiter Verlag
#BVK02488_00. Published
by Baerenreiter Verlag
(BA.BVK02488).
ISBN
9783761824887. 22.5 x 15
cm inches. Language:
German. Preface: Wagner,
Katharina / Berg, Holger
von / Maintz, Marie
Luise.
Was ist
erlaubt in der Kunst? Wo
liegen die Grenzen der
künstlerischen
Freiheit? Wie gehen
Künstler heute mit
Tabus um? Welche Rolle
spielten Verbote und
Zensur bei der
Wagner-Rezeption in und
nach der NS-Zeit, im
stalinistischen Russland,
in der Geschichte der
Oper? In diesem Band
erörtern prominente
Persönlichkeiten aus
Kunst und Medien,
Wissenschaft und Politik
aktuelle Fragen und
historische
Fälle.
Es
diskutieren:
die
Schriftsteller Thea Dorn
und Feridun Zaimoglu
über Provokation in
Literatur und
Musik
der
Dichter Eugen Gomringer
und der Historiker Lucian
Hölscher über
Political Correctness und
die Diskussionen um das
Gedicht „ciudad
(avenidas)“ auf der
Fassade der
Alice-Salomon-Hochschule<
/li>
der ehemalige
Bundesinnenminister
Gerhart Baum und die
Komponistin Charlotte
Seither über die
Kunstfreiheit im
Grundgesetz und die
Kunstförderung
die Musik- und
Kulturwissenschaftler
Hans Vaget, Ute Frevert,
Detlef Brandenburg und
Bernd Feuchtner über
Denkverbote und
Frageverbote in der
Wagner-Rezeption und
politische Verstrickungen
in der Oper
und
der Komponist Klaus Lang,
der Regisseur Paul
Esterhazy und die
Journalistinnen Eleonore
Büning und Lydia
Jeschke über Freiheit
und Begrenzung in der
alten und neuen
Musik
Die
Herausgeber Die
Leitung der Bayreuther
Festspiele, Katharina
Wagner und Holger von
Berg, zusammen mit der
Kuratorin der
Programmreihe
„Diskurs
Bayreuth“, Marie
Luise Maintz.
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800).
ISBN
9790007112745. Language:
all languages.
E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet.
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages.
E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800.
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music for Mixed Ensemble (vlc, vl, celesta, org.) SKU: HL.50511147(+)
Chamber Music for Mixed
Ensemble (vlc, vl,
celesta, org.)
SKU:
HL.50511147
(The
answered-unanswered
question). Composed
by Gyorgy Kurtag. EMB.
Contemporary Hungarian
Works. Playing score. Op.
31b. 8 pages. Editio
Musica Budapest #Z13957.
Published by Editio
Musica Budapest
(HL.50511147).
ISBN
9790080139578. UPC:
073999111477.
9.0x12.0x0.059 inches.
Gyorgy Kurtag.
The
original version of the
piece, Message to Frances
Marie, op. 31a was
composed for cello solo
with two bows for the
American cellist Frances
Marie Uitti. The subtitle
refers to the title of a
composition by Charles
Ives. The condensed piece
of Webernian density
which is built upon a
homogeneous sequence of
chords can be played by
three different groups of
instruments: A: one cello
with two bows, two
violins and celesta B:
two cellos, two violins
and celesta C: two organs
and celesta (or upright
piano). Written in 1989
the premiere of the work
was given at the ISCM
Festival in Oslo by F.-M.
Uitti, Kjell Arne
Jorgensen and Eileen
Siegtel in September 25,
1990.
(Score) SKU: HL.14037632 Carl Nielsen Collected Works Section IV: Vol....(+)
(Score)
SKU:
HL.14037632
Carl
Nielsen Collected Works
Section IV: Vol. 1.
Composed by Carl August
Nielsen. Music Sales
America. Classical.
Hardcover. 388 pages.
Edition Wilhelm Hansen
#CN00052. Published by
Edition Wilhelm Hansen
(HL.14037632).
ISBN
9788759818244. UPC:
884088562045. 10.25x13
inches.
Contents:
CHAMBER MUSIC: Polka for
Violin; Duet for Violins;
Romance for Violin and
Piano in G Major; Romance
for Violin and Piano in D
Major; Sonata for Violin
and Piano; Fantasy for
Clarinet and Piano; Trio
for Violin, Cello and
Piano; Quartet for Two
Violins, Viola and Cello
in D Minor; Movement for
Two Violins, Viola and
Cello in F Major (Add.
9); Movement for Two
Violins, Viola and Cello
in F Major (Add. 10);
Movement for Two Violins,
Viola and Cello in F
Major (Add. 11); Movement
for Two Violins, Viola
and Cello in G Minor;
Movement for Two Violins,
Viola and Cello in F
Sharp Minor; Movement for
Two Violins, Viola and
Cello in B Flat Major;
Trauermarsch for Two
Violins, Viola and Cello.
PIANO PIECES: Two
Character Pieces;
Norwegian Folk Dance;
Andante; Piano Piece;
Peasant Dance;
Allegretto; Add. 22;
Minuet; Add. 24;
Andantino; Add. 26; A
Little Piano Piece.
CANTATA: Cantata for The
Commemoration Of P.S.
Krøyer.
ARRANGEMENTS: Prelude to
'Snefrid' for Piano;
'Snefrid' for Recitation
and Piano Quintet;
'Elves' Dance' From 'Sir
Oluf He Rides ''; 'Dance
of the Handmaidens' from
'Hagbarth and Signe' for
Piano; 'Canto Serioso'
for Cello and Piano;
Dances from 'Aladdin'for
Piano; Excerpts from 'The
Mother' for Piano; 'A
Fair And Lovely Land' for
Brass; Cantata for The
Centenary of The
Polytechnic College for
Reciter, Male Choir,
Strings and Piano;
Counterpoint Exercises;
Two Part Fugue (Add. 38);
Two Part Fugue (Add. 39);
Three-part Fugue (Add.
40); Three-part Fugue
(Add. 41); Three-part
Fugue (Add. 42);
Three-part Fugue (Add.
43); Three-part Fugue
(Add. 44). APPENDIX:
Greeting; Gade; Denmark!;
Welcome to 20 Della
Grazia, Little Marie!;
The Shepherd's
Melody.
Piano SKU: BT.EMBZ14501A Suppl. 6. EMB New Listz Edition. Book Har...(+)
Piano
SKU:
BT.EMBZ14501A
Suppl. 6. EMB New
Listz Edition. Book
Hardcover. Composed 2009.
244 pages. Editio Musica
Budapest #EMBZ14501A.
Published by Editio
Musica Budapest
(BT.EMBZ14501A).
Organ SKU: M7.DOHR-20488 Composed by Vincent d'Indy. Edited by Otto Depen...(+)
Organ
SKU:
M7.DOHR-20488
Composed by Vincent
d'Indy. Edited by Otto
Depenheuer. Sheet music.
Score. 24 pages. MDS
(Music Distribution
Services) #DOHR 20488.
Published by MDS (Music
Distribution Services)
(M7.DOHR-20488).
SKU: BA.BVK02465 Richard Wagner, der Nationalsozialismus und die Folge...(+)
SKU: BA.BVK02465
Richard Wagner, der
Nationalsozialismus und
die Folgen. Edited by
Holger von Berg,
Katharina Wagner, and
Marie Luise Maintz.
Hardback. Diskurs
Bayreuth 1. Book.
Baerenreiter Verlag
#BVK02465_00. Published
by Baerenreiter Verlag
(BA.BVK02465).
ISBN
9783761824658. 22.5 x
14.8 cm inches. Language:
German.
Wurde
Richard Wagners Werk
für die Zwecke des
Nationalsozialismus
‚nur‘
benutzt, oder waren seine
Kompositionen und
Schriften
mitverantwortlich für
die Entwicklung dieser
rassistisch-nationalistis
chen Ideologie? Ist der
„Sündenfallâ€
œ Wagners Kunst
eingeschrieben? Wem
‚gehört‘
Wagner?
Die
Kontroverse über die
Nachbarschaft zwischen
Kunst und Barbarei, die
schon Thomas Mann
umtrieb, ist
Ausgangspunkt dieses
Themenbuches der
Bayreuther Festspiele.
Prominente Künstler,
Historiker,
Kunstwissenschaftler und
Publizisten führen
darin einen lebendigen
Diskurs in Form von
Texten, Interviews und
Streitgesprächen
über den aktuellen
Stand zum „Fall
Wagner“.
Aus dem
Inhalt: Micha Brumlik
und Irmela von der
Lühe diskutieren das
Dreieck Wagner –
Hitler – Thomas
Mann
Dieter
Schnebel und Klaus
Zehelein berichten als
Zeitzeugen der
Nachkriegszeit
Ulr
ich Konrad, Silke
Leopold, Dörte Schmidt
und Reinhard Kapp
beleuchten
musikwissenschaftliche
Aspekte der
Rezeption
Zur
neuen Reihe: DISKURS
BAYREUTH begleitet seit
2017 das Programm der
Bayreuther Festspiele
– ein
künstlerisches und
wissenschaftliches
Rahmenprogramm, das den
Dialog und die kritische
Auseinandersetzung mit
Wagner anbietet.
111 Kölsche
Mitsinghits. Arranged
by Björn Heuser and
Franz-Martin Willizil.
This edition: Ring/Spiral
binding. Sheet music with
Online material.
Songbook. 136 pages.
Edition Melodia #GRG
106297100. Published by
Edition Melodia
(M7.GRG-106297100).
ISBN 9783872523853.
German
Kölsch.
111
Kölsche Mitsinghits
mit allen Texten,
Akkorden und einem
Videoclip als
Hörbeispiel in
Lagerfeuerversion -
eingespielt mit
zusätzlichen
Praxistipps zur
Spielweise,
Akkordvarianten und
Anschlagsmustern von den
Kölner Musikern
Björn Heuser und FM
Willizil. Mit
Akkordtabelle, allen
Texten und
Gitarrengriffe, OHNE
Noten, QR-Code neben
jedem Lied fu?hrt zu
einem kurzen Videoclip
(ca. 1:30 Minuten
lang).
Conte d'Avril Orchestre Crescendo Music Publications
Orchestra (3 x Flutes I/II (doubling Piccolo)/Solo Flute (3 players), 2 x Oboes ...(+)
Orchestra (3 x Flutes
I/II (doubling
Piccolo)/Solo Flute (3
players), 2 x Oboes I/II,
2 x Clarinets in A/B-flat
I/II, 2 x Bassoons I/II,
4 x Horns in E-flat/E/F/G
I/II/III/IV, 2 x Trumpets
in E/F I/II, 2 x Cornets
in B-flat I/II, 3 x
Trombones I/II/III, 1 x
Tuba, 1 )
SKU:
C4.9790-900969354
Composed by Charles Marie
Widor. Edited by Daniel
Mitterdorfer and Harold
Fabrikant. Instrumental
parts. Crescendo Music
Publications
#9790-900969354.
Published by Crescendo
Music Publications
(C4.9790-900969354).
