A Major Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Murray ...(+)
A Major Piano. Composed
by
Ludwig van Beethoven
(1770-
1827). Edited by Murray
Perahia and Norbert
Gertsch.
Arranged by Murray
Perahia.
Sheet music. Henle Music
Folios. Classical.
Softcover.
Op. 2/2. G. Henle #HN772.
Published by G. Henle
Op. 2 No. 3. Composed by Ludwig van Beethoven (1770- 1827). Edited by Murray ...(+)
Op. 2 No. 3. Composed by
Ludwig van Beethoven
(1770-
1827). Edited by Murray
Perahia and Norbert
Gertsch.
Arranged by Murray
Perahia.
This edition:
Paperback/Soft
Cover. Sheet music. Henle
Music Folios. Classical.
Softcover. Op. 2/3. G.
Henle
#HN1222. Published by G.
Henle
Composed by Ludwig van Beethoven (1770-1827). Edited by Johannes Fischer. This e...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Johannes
Fischer. This edition:
Urtext. Edition Peters
#EP4031A. Published by
Edition Peters
(PE.P04031A).
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I and
Volume
II. Classical. Score and
part.
Baerenreiter Verlag
#BA09036. Published by
Baerenreiter Verlag
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume II.
Classical. Score and
part.
Baerenreiter Verlag
#BA09015. Published by
Baerenreiter Verlag
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I.
Classical.
Score and part.
Baerenreiter
Verlag #BA09014.
Published
by Baerenreiter Verlag
(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.
Two violins, violoncello & basso continuo SKU: HH.HH584-FSP Composed by F...(+)
Two violins, violoncello
& basso continuo
SKU:
HH.HH584-FSP
Composed
by Frederich Ernest
Fisher. Edited by Michael
Talbot. Full score and
parts. Edition HH Music
Publishers #HH584-FSP.
Published by Edition HH
Music Publishers
(HH.HH584-FSP).
ISBN
9790708185994.
Stan
ley Sadie’s
opinion, expressed in
1963, that the two of the
twelve trio sonatas by
Frederick Ernest
Fisher(1711/12–176
0), divided equally
between Op. 1 (c.1751)
and Op. 2 (c.1761), were
‘among the finest
of their time’
while some of the others
were ‘remarkably
inventive and
original’ almost
sells this composer
short. Every single one
of these works, scored
for two violins, cello
and harpsichord, is
masterly and deserves a
permanent place in the
repertoire. Born in or
near Kassel, Fisher spent
several years in Holland,
teaching music from 1741
to 1745 at the university
of Leiden, before
emigrating to England.
After spending about two
years in London he
settled permanently in
Cambridge, where he
taught music to members
of the local music
society. His Op. 1 set,
dedicated to the same
society, epitomizes the
‘social’
character of the trio
sonata genre, where
individual virtuosity
yields its place to
amicable interaction
between the players.
Fisher was a cellist as
well as a violinist, and
this background is
brought out by the rare
eloquence of his bass
lines. The diversity of
movement types in these
ordinarily three-movement
sonatas is very
attractive. They include
powerful fugues,
expansive movements in
sonata form, languorous
middle movements
reminiscent of those in
operatic overtures and a
selection of dance
movements, all of which
mix baroque, galant and
classical elements in a
convincing synthesis.
Composed by Josef Gabriel Rheinberger. Edited by Martin Weyer. For organ. This e...(+)
Composed by Josef Gabriel
Rheinberger. Edited by
Martin Weyer. For organ.
This edition: Paperbound.
G-Dur (G major). German
title: Orgelsonate 3 in G
op. 88. Free organ music.
Full score. Language: all
languages. Composed 1875.
Op. 88. 20 pages.
Published by Carus Verlag
Having been considered as a 'fashionable' and 'cliche' composer of his day, Hahn...(+)
Having been considered as
a 'fashionable' and
'cliche' composer of his
day, Hahn's compositions
are possibly not as
well-known as they ought
to be. Sonata in C major
for Violin and Piano,
however, shatter these
prejudices held,
representing the engaging
diversity of the
composer's music.
Venezuelan-born Reynaldo
Hahn (1875-1947) entered
the Paris Conservatoire
at 10 years old. He
received a high standard
of musical education from
Decombes, Lavignac,
Dubois and Massenet,
before becoming a
prolific and versatile
composer himself, writing
works for all genres. For
Hahn, music was a magical
art and his compositions
often contain expressions
of his otherwise hidden
emotions and moods.
Sonata in C major
contains a variety of
different features,
making for a pleasant and
evocative piece for
advanced violinists.
Composed by Henri Vieuxtemps (1820-1881). Opus 36. Set of performance parts for ...(+)
Composed by Henri
Vieuxtemps (1820-1881).
Opus 36. Set of
performance parts for
viola and piano. With
bowings. 36 pages.
Published by Edition
Kunzelmann.
Sonata Clarinette et Piano [Conducteur] Noten Roehr
Clarinet and piano SKU: NR.51840 Za klarinet i piano = Sonata : for cl...(+)
Clarinet and piano
SKU: NR.51840
Za klarinet i piano =
Sonata : for clarinet and
piano, opus 26, 1985.
Composed by Nikolai
Ivanov Stoikov. Woodwind
music. Score. Composed
1985. Noten Roehr #51840.
Published by Noten Roehr
(NR.51840).
Sonata Hautbois, Piano (duo) [Conducteur] Noten Roehr
Oboe and piano SKU: NR.51839 Za oboi i piano = Sonata : for oboe and p...(+)
Oboe and piano
SKU:
NR.51839
Za oboi i
piano = Sonata : for oboe
and piano, opus 28,
1986. Composed by
Nikolai Ivanov Stoikov.
Woodwind music. Score.
Composed 1986. Noten
Roehr #51839. Published
by Noten Roehr
(NR.51839).
Violin and piano SKU: NR.51843 Za tsigulka i piano = Sonata : for viol...(+)
Violin and piano
SKU:
NR.51843
Za
tsigulka i piano = Sonata
: for violin and piano,
opus 10, 1974.
Composed by Nikolai
Ivanov Stoikov. Edited by
Nedialcho Todorov. String
instruments. Score.
Composed 1974. Noten
Roehr #51843. Published
by Noten Roehr
(NR.51843).
2 cellos SKU: NR.51845 Za dve violoncheli = Sonata : for two violoncel...(+)
2 cellos
SKU:
NR.51845
Za dve
violoncheli = Sonata :
for two violoncellos,
opus 17, 1978-81.
Composed by Nikolai
Ivanov Stoikov. String
instruments. Score.
Composed 1978-81. Noten
Roehr #51845. Published
by Noten Roehr
(NR.51845).
By Josef Gabriel Rheinberger. Edited by Weyer, Martin. For organ. Organ Music. S...(+)
By Josef Gabriel
Rheinberger. Edited by
Weyer, Martin. For organ.
Organ Music. Score.
Composed 1882. 132. 32
pages. Duration 27 min.
Published by Carus Verlag
(German import).
(HC) SKU: HL.49020804 Essays before a Sonata. Composed by Charles ...(+)
(HC)
SKU:
HL.49020804
Essays
before a Sonata.
Composed by Charles Ives.
Edited by Werner
Baertschi. This edition:
Hardback/Hard Cover.
Book. Edition Schott.
Charles Ives, der
radikale Neuerer, der in
seinen Kompositionen mit
den gangigen
musikalischen Formen
seiner Zeit brach, legt
hier seinen
philosophischen
Standpunkt, seine
Gedanken zu seinen
Kompositionen und zu
Fragen seiner Zeit dar.
286 pages. Schott Music
#ATL 6118. Published by
Schott Music
(HL.49020804).
ISBN
9783254001184.
German.
Obwohl
Charles Ives (1874-1954)
eine grundliche
musikalische Ausbildung
an der Yale University
genossen hatte, schlug er
sehr bald eine
erfolgreiche Laufbahn als
Versicherungskaufmann ein
und widmete sich seiner
musikalischen Arbeit nur
abends und an den
Wochenenden. In fast
volliger Isolation vom
Musikgeschehen der Zeit
schuf er ein
umfangreiches OEuvre,
dessen grosse Bedeutung
erst in den 60er Jahren
entdeckt wurde: Ives
entpuppt sich darin als
radikaler Neuerer, der
sowohl mit der damals
gangigen musikalischen
Syntax als auch den
auffuhrungspraktischen
Bedingungen seiner Zeit
weitgehend brach.
Allerdings ware es
verfehlt, ihn bloss zum
musikalischen Enfant
terrible abzustempeln,
das sich dank seiner
materiellen
Unabhangigkeit uber die
Grenzen des
Musikbetriebes
hinwegsetzen konnte.
Dafur war Ives ein viel
zu reflektierender,
verantwortungsbewusster
Mensch, der zudem fest in
der denkerischen
Tradition des
neuenglischen
Transzendentalismus
verwurzelt war. So
gesehen erstaunt es kaum,
dass Ives sich ausser der
Musik - und
gewissermassen parallel
dazu - noch eines andern
Mediums, des
literarisch-philosophisch
en Essays, bediente, um
seinen Uberzeugungen
Ausdruck zu
verschaffen.Dies gilt
insbesondere fur Ives'
tiefsinnigsten und
ausgereiftesten Text, die
Essays before a Sonata
(1920), der als
Begleitschrift zur
zweiten Klaviersonate
(Concord, Mass.,
1840-1860) des
Komponisten konzipiert
war. Allerdings sind die
Essays keineswegs ein
Werkkommentar im
traditionellen Sinne: Sie
gehen zwar von konkreten
musikasthetischen Fragen
(namlich der Problematik
der Programmmusik) aus,
weiten sich aber zu einer
sehr subjektiv gefarbten
Darstellung von vier
hochbedeutenden
amerikanischen
Schriftstellern des 19.
Jahrhunderts aus - die
Rede ist von Ralph Waldo
Emerson, Nathaniel
Hawthorne, Bronson Alcott
und Henry David Thoreau.
Die vier Hauptabschnitte
der Essays, die den vier
behandelten Autoren
entsprechen, geben in
ihrem innigen Konnex zu
den vier Satzen der
Concord-Sonata - er
erstreckt sich von vagen
inhaltlichen
Vorstellungen und Bildern
bis hin zu ganz konkreten
syntaktischen und
formalen Parallelen -
Aufschluss uber die
Kompositionsprinzipien
nicht nur der
Concord-Sonata, sondern
der Musik Ives' ganz
allgemein, so dass man
die Essays before a
Sonata als sehr gelungene
und in ihrer
Ausfuhrlichkeit wohl
einmalige Paraphrase von
Musik bezeichnen darf.Das
Nachwort zu den 114
Liedern (1922) ist mit
den Essays insofern
verwandt, als es zwei
langere Stellen aus ihnen
zitiert. Diese
Zitierpraxis - man
begegnet ihr auch in
Ives' Musik - ist
bezeichnend fur Ives'
Denkweise: Ives macht von
seinem Stoff sehr
flexiblen Gebrauch, er
setzt ihn in der Art von
Versatzstucken immer
wieder neu zusammen und
kommt so immer wieder zu
einem neuen, anders
gearteten Ganzen. So geht
Ives im Nachwort weniger
allgemein
kunstphilosphischen
Problemen als der ganz
individuellen Frage nach,
warum er die Musik nur
als Nebenberuf ausuben
wollte. Seine Antwort,
die er mit seinem
typischen Yankee-Humor
vortragt, macht
einerseits deutlich, wie
sehr Ives von einem
puritanischen
Verantwortungsgefuhl
gegenuber der
Gesellschaft gepragt war,
und zeigt andererseits
Ives' tiefen Glauben an
eine Musik, die fest im
Alltagsleben verwurzelt
und somit denkbar weit
von der europaischen
Tradition der art pour
l'art entfernt war.Die
Memos (ca. 1932-34)
schliesslich sind ein
Dokument ganz anderer
Art: Weder sollten sie,
wie die beiden andern
hier vorgelegten Texte,
ein bestimmtes
musikalisches Werk
begleiten, noch besitzen
sie den hohen
gedanklichen Ausspruch
der Essays und des
Nachworts. Es sind
autobiographische
Aufzeichnungen, die Ives
ursprunglich diktierte,
deren Manuskripte er aber
danach mehrmals durchsah
und korrigierte. Sie
gliedern sich in drei
lose aneinandergereihte
Teile: Im Anlass
betitelten Abschnitt
nimmt Ives auf teils
humoristische, teils
sarkastische Weise zu den
Anfeindungen Stellung,
die ihm die damals
sparlichen Auffuhrungen
seiner Werke bescherten.
Im Sammelalbum gibt er
einen chronologischen
Uberblick uber Entstehung
und Gehalt seiner
wichtigsten Werke. Und in
den Erinnerungen
verschafft Ives nochmals
den Grundpositionen
seiner idealistischen
Musikasthetik, seiner
Abneigung gegen jede Form
von Kommerz und Routine
und seiner Verachtung
aller musikalischen
Kleingeister Ausdruck.
Uberdies sind die Memos -
trotz ihrer defensiven
Grundhaltung - so
humorvoll, engagiert und
bildreich verfasst, dass
sie nicht nur die
detaillierteste, sondern
auch die wohl anregendste
Primarquelle zum Leben
und Werk dieses
vielleicht
eigenwilligsten
Komponisten des fruhen
20. Jahrhunderts
bilden.
By Marco Uccellini. For 2 violins, cello (obligatory) and basso continuo. Musica...(+)
By Marco Uccellini. For 2
violins, cello
(obligatory) and basso
continuo. Musica
Italiana. Score and
parts. 20 pages.
Published by Moseler
Verlag (German import).
(MOS 46004)
Composed
by Anton Eberl. Edited by
Martin Harlow. Full score
and parts. Edition HH
Music Publishers
#HH528-FSP. Published by
Edition HH Music
Publishers
(HH.HH528-FSP).
ISBN
9790708185413.
Amon
g Vienna’s many
composers and pianists of
the time, Anton Eberl
(1765–1807) was
the one considered most
worthy of comparison with
Beethoven. His Sonata in
B flat major, Op.10 No.2,
is the first known
Viennese sonata for
keyboard with clarinet,
offered as a first-named
alternative to violin.
The alternatives are
included in this edition.
It is probably the fourth
of his seven sonatas
which included the violin
and was published with an
optional
‘basse’
– doubtless
intended to be a part for
a cellist – which
permits performance as a
piano trio. The sonata
was composed around 1800
and dedicated to Franz
Joseph the Prince of
Dietrichstein, an
official at the court of
Emperor of Russia Paul I
in St Petersburg. Eberl
spent two periods in that
city, 1796-9 and 1801-2,
as Kapellmeister,
performer and teacher.
The work was first
published by the St
Petersburg firm of
Gerstenberg & Dittmar. As
contemporary reviewers
found Beethoven’s
Sonatas Op.12 with violin
– works published
in 1799 –
challenging and
‘overladen with
strange
difficulties’, so
too were the two sonatas
Op.10 thought to be
overlong and excessively
complex. But in its
duration, formal and
harmonic novelty, and in
the lively relationship
between the clarinet or
violin and the keyboard,
his Op.10 No.2 shares
much of the musical
ambition and quality of
Beethoven’s works
in this genre.
(BR) SKU: HL.49000701 Annales Hindemith 1987. Composed by Paul Hin...(+)
(BR)
SKU:
HL.49000701
Annales Hindemith
1987. Composed by
Paul Hindemith. Edited by
Frankfurt
Hindemith-Institut and
Main. This edition:
Paperback/Soft Cover.
Book. Edition Schott.
Classical. 244 pages.
Schott Music #BN 108-20.
Published by Schott Music
(HL.49000701).
ISBN
9783795701086. German -
English.
Seit 1971
erscheint das
Hindemith-Jahrbuch /
Annales Hindemith. Es
gehort zu den wenigen
Schriftenreihen, die
einem Komponisten des 20.
Jahrhunderts gewidmet
sind. Mit Beitragen zu
Leben und Werk des
Komponisten sowie der
Bereitstellung von
dokumentarischem Material
aus dem Nachlass bietet
diese Reihe die Grundlage
fur die wissenschaftliche
Beschaftigung mit dem
Komponisten. Herausgeber
ist das Hindemith
Institut Frankfurt im
Auftrag der Fondation
Hindemith.
SKU: NR.98718 Für Violine und Orgel, WV D49, 1999. Composed by Ri...(+)
SKU: NR.98718
Für Violine und
Orgel, WV D49, 1999.
Composed by Richard
Rudolf Klein. String
instruments. Fur Violine
und Orgel, WV D49, 1999.
Score. Noten Roehr
#98718. Published by
Noten Roehr (NR.98718).
2 horns SKU: NR.51852 Za dve valdkhorni v F = Sonate : für 2 Waldhör...(+)
2 horns
SKU:
NR.51852
Za dve
valdkhorni v F = Sonate :
für 2 Waldhörner.
Composed by Svetoslav
Karagenov. Brass
instruments. Score. Noten
Roehr #51852. Published
by Noten Roehr
(NR.51852).
Harp and piano SKU: NR.51849 For harp and piano, op. 62, 1998. Com...(+)
Harp and piano
SKU:
NR.51849
For harp
and piano, op. 62,
1998. Composed by
Nikolai Ivanov Stoikov.
Plucked instrumental
music. Score. Composed
1998. Noten Roehr #51849.
Published by Noten Roehr
(NR.51849).
SKU: NR.101806 Per due pianoforti, 2004. Composed by Hendrik Piena...(+)
SKU: NR.101806
Per due pianoforti,
2004. Composed by
Hendrik Pienaar Hofmeyr.
Keyboard instruments. Per
due pianoforti, 2004.
Score. Noten Roehr
#101806. Published by
Noten Roehr (NR.101806).
Piano SKU: NR.21892 Al chiare di luna : trascrizione facilitata per pi...(+)
Piano
SKU:
NR.21892
Al chiare
di luna : trascrizione
facilitata per
pianoforte. Composed
by Ludwig van Beethoven.
Edited by Vincenzo Billi.
Score. Noten Roehr
#21892. Published by
Noten Roehr (NR.21892).
SKU: NR.101859 Per pianoforte, opus 136, 2011. Composed by Hendrik...(+)
SKU: NR.101859
Per pianoforte, opus
136, 2011. Composed
by Hendrik Pienaar
Hofmeyr. Keyboard
instruments. Per
pianoforte, opus 138,
2011. Score. Noten Roehr
#101859. Published by
Noten Roehr (NR.101859).