| Essential Keyboard Repertoire, Volume 8 (Miniatures) Piano seul [Partition] - Facile Alfred Publishing
95 Early / Late Intermediate Miniatures - Baroque to Modern. Edited by Maurice H...(+)
95 Early / Late
Intermediate Miniatures -
Baroque to Modern. Edited
by Maurice Hinson. For
Piano. Piano Collection.
Essential Keyboard
Repertoire. Masterwork.
Level: Early Intermediate
/ Late Intermediate.
Book. 144 pages.
Published by Alfred
Publishing. (
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Exploring Piano Masterworks: Songs Without Words (5 Selections) Piano seul [Partition] - Intermédiaire Alfred Publishing
By Felix Mendelssohn. Keyboard. Level: Intermediate/Late Intermediate (4/5/6). P...(+)
By Felix Mendelssohn.
Keyboard. Level:
Intermediate/Late
Intermediate (4/5/6).
Published by Alfred
Publishing.
$5.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Keys to Artistic Performance, Book 2 Piano seul [Partition] - Intermédiaire Alfred Publishing
23 Intermediate to Late Intermediate Pieces to Inspire Imaginative Performance. ...(+)
23 Intermediate to Late
Intermediate Pieces to
Inspire Imaginative
Performance. Edited by
Ingrid Jacobson Clarfield
And Dennis Alexander. For
Piano. Piano Collection.
Keys to Artistic
Performance. Masterwork.
Level: Intermediate /
Late Intermediate. Book.
64 pages. Published by
Alfred Publishing.
(3)$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Heller : 23 Miscellaneous Pieces Piano seul - Intermédiaire/avancé ABRSM Publishing
By Heller. For piano. Published by ABRSM (Associated Board of the Royal Schools ...(+)
By Heller. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$15.75 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Masterpieces With Flair!, Book 2
Piano seul [Partition] - Intermédiaire Alfred Publishing
Keyboard (Masterworks Book). Level: Intermediate/Late Intermediate (4/5/6). Publ...(+)
Keyboard (Masterworks
Book). Level:
Intermediate/Late
Intermediate (4/5/6).
Published by Alfred
Publishing.
(1)$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Songs without Words Vol.3 op.38 Orgue Music Distribution Services
Organ SKU: M7.DOHR-28883 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ SKU:
M7.DOHR-28883
Composed by Felix
Bartholdy Mendelssohn.
Edited by Rainer Goede.
Sheet music. Op.38. MDS
(Music Distribution
Services) #DOHR 28883.
Published by MDS (Music
Distribution Services)
(M7.DOHR-28883). ISBN
9790202018835. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Encore!, Book 1
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
Keyboard (Masterworks Book). Level: Late Intermediate/Early Advanced (6/6 ). Pub...(+)
Keyboard (Masterworks
Book). Level: Late
Intermediate/Early
Advanced (6/6 ).
Published by Alfred
Publishing.
(1)$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Melodious Masterpieces, Book 1
Piano et Orchestre [Partition] - Facile Alfred Publishing
Masterworks Book). Standard early intermediate to intermediate literature for ex...(+)
Masterworks Book).
Standard early
intermediate to
intermediate literature
for expressive
performance. Classical.
Early Intermediate;
Intermediate. Collection.
Fingerings. 64 pages.
Published by Alfred Music
Publishing
(1)$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Songs without Words Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.14440652S For String Quartet....(+)
Chamber Music String
Quartet SKU:
PR.14440652S For
String Quartet.
Composed by Felix
Bartholdy Mendelssohn.
Arranged by Paul Salerni.
Romantic. Full score.
With Standard notation.
Composed 2014. 12 pages.
Duration 10 minutes.
Theodore Presser Company
#144-40652S. Published by
Theodore Presser Company
(PR.14440652S). UPC:
680160634002. 9 x 12
inches. Salerni,
whose recent works
include two one-act
operas (Tony Caruso's
Final Broadcast and The
Life and Love of Joe
Coogan), turns to the
piano works of
Mendelssohn and fashions
four beautiful string
quartet arrangements.
While Consolations is
lush and languid,
Hunting-Song and Unrest
will require a tight
rhythmic control.
Includes Consolation, Op.
30, No. 3; Hunting-Song,
Op. 19, No. 3; Venetian
Boat-Song No. 1, Op. 19,
No. 6; Unrest, Op. 30,
No. 2. $16.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs without Words Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.144406520 For String Quartet....(+)
Chamber Music String
Quartet SKU:
PR.144406520 For
String Quartet.
Composed by Felix
Bartholdy Mendelssohn.
Arranged by Paul Salerni.
Romantic. Set of Score
and Parts. With Standard
notation. Composed 2014.
12+8+8+8+8 pages.
Duration 10 minutes.
Theodore Presser Company
#144-40652. Published by
Theodore Presser Company
(PR.144406520). UPC:
680160633982. 9 x 12
inches. Salerni,
whose recent works
include two one-act
operas (Tony Caruso's
Final Broadcast and The
Life and Love of Joe
Coogan), turns to the
piano works of
Mendelssohn and fashions
four beautiful string
quartet arrangements.
While Consolations is
lush and languid,
Hunting-Song and Unrest
will require a tight
rhythmic control.
Includes Consolation, Op.
30, No. 3; Hunting-Song,
Op. 19, No. 3; Venetian
Boat-Song No. 1, Op. 19,
No. 6; Unrest, Op. 30,
No. 2. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Six Songs Without Words Sikorski
Score and Parts Clarinet; Piano Trio SKU: HL.50490502 Violin (Clarinet...(+)
Score and Parts Clarinet;
Piano Trio SKU:
HL.50490502 Violin
(Clarinet), Violoncello,
and Piano Score and
Parts. Composed by
Felix Bartholdy
Mendelssohn. Arranged by
Cord Garben. String.
Classical. Sikorski
#SIK1740. Published by
Sikorski (HL.50490502).
UPC: 196288199533.
8.25x11.75x0.217
inches. Trio
arrangements from
Mendelssohn's beloved
piano works Songs Without
Words. Includes: No. 1 in
E Major, Op. 19, No. 1;
No. 2 in E-flat Major,
Op. 30, No. 1; No. 3 in C
minor, Op. 38, No. 2; No.
4 Duetto in A-flat Major,
Op. 38, No. 6; No. 5 in G
Major, Op. 62, No. 1; and
No. 6 in B Major, Op. 67,
No. 3. $35.95 - Voir plus => Acheter | | |
| Stomping 'Em Along Slow Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Guitar (fingerpicking) - Intermediate SKU: MB.30780M The Guitar Playin...(+)
Guitar (fingerpicking) -
Intermediate SKU:
MB.30780M The
Guitar Playing of Lonnie
Johnson, Bo Carter, Rev.
Gary Davis, Buddy Moss,
Josh White and Tommy
McClennan. Composed
by Stefan Grossman.
Squareback saddle stitch,
Solos, Blues, Technique,
Theory and Reference.
Grossman Audio. Style.
Book and online audio.
136 pages. Mel Bay
Publications, Inc
#30780M. Published by Mel
Bay Publications, Inc
(MB.30780M). ISBN
9781513462714. 8.75 x
11.75 inches. Transcribed
by Stefan
Grossman. This collection
presents six legendary
blues guitarists from the
1920s to early 1940s.
Each has his own unique
approach, style and
techniques for playing.
Some like Rev. Gary Davis
favored regular tuning
while Josh White was
equally at home playing
in Open D tuning as well
as standard tuning.
Lonnie Johnson is unique
in his playing techniques
as well as use of a D G D
G B E tuning. Buddy
Mossâ??s recordings
influenced generations of
Piedmont guitarists,
especially Blind Boy
Fuller. Bo Carter had one
of the most unusual tonal
approaches for playing
blues, ragtime and
novelty songs. And lastly
there is Tommy McClennan.
His recordings sound
â??rough and tumbleâ?
but once you explore the
intricacies of his
playing you will discover
a powerful blues
guitarist. <
span style=font-family:
Arial;> REV. GARY DAVIS:
Cincinnati Flow â?¢
Piece without Words â?¢
Children of Zion â?¢
Twelve Gates to The
City BO CARTER:
Letâ??s Get Drunk Again
â?¢ Nobodyâ??s
Business â?¢ Honey
â?¢ What You Want Your
Daddy to
Do BUDDY MOSS: Oh
Lordy Mama â?¢
Sleepless Night â?¢
Someday Baby (Iâ??ll
Have
Mine) JOSH WHITE Crying
Blues â?¢ Bad
Depression Blues â?¢
High Brown Cheater â?¢
My Soul Is Gonna Live
With God â?¢ Pure
Religion
Hallilu LONNIE JOHNSON:
Away Down In the Alley
Blues â?¢ Stomping
â??Em Along Slow â?¢
Blue Ghost Blues There Is
No Justice â?¢ Helena
Blues â?¢ Sittinâ?? On
A Log â?¢ Corn Bread
Blues TOMMY McCLENNAN:
Blues as I Can Be â?¢
Iâ??m Goinâ??, Donâ??t
You Know â?¢ Love With
a Feeling � New
Highway No.51 â?¢ Drop
Down
Mama HOW TO USE THIS
BOOK: 1) Listen over and
over to the original
recordings available via
the download link for
this collection. 2) Get a
program that can control
digital audio files. Use
this with the
transcriptions and the
recordings. 3) Be
patient!! Practice,
practice and practice
some
more!! $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Six Songs Without Words Guitare Guitare classique Schott
Guitar Solo. By Felix Mendelssohn. Arranged by Anton Stingl. Schott. Size 9x12 i...(+)
Guitar Solo. By Felix
Mendelssohn. Arranged by
Anton Stingl. Schott.
Size 9x12 inches.
Published by Schott.
$19.99 - Voir plus => Acheter | | |
| Songs Without Words (Hillemacher) Soli, choeur mixte et accompagnement [Conducteur] Lucks Music Library
(2+1.2.2.2/4.2+2.3.1,timp ,str) SKU: TM.05653SC Composed by Felix Barthol...(+)
(2+1.2.2.2/4.2+2.3.1,timp
,str) SKU:
TM.05653SC Composed
by Felix Bartholdy
Mendelssohn. Score. Lucks
Music Library #A8170.
Published by Lucks Music
Library (TM.05653SC).
Le Depart Op 30
No. 2, Le Gondolier Op 30
No. 6, Scherzetto Op 102
No. 3, Marche Funebre Op
62 No. 3, La Chasse Op 19
No. 3. $20.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs Without Words (Hillemacher) Soli, choeur mixte et accompagnement Lucks Music Library
(2+1.2.2.2/4.2+2.3.1,timp ,str) SKU: TM.05653SET Composed by Felix Bartho...(+)
(2+1.2.2.2/4.2+2.3.1,timp
,str) SKU:
TM.05653SET Composed
by Felix Bartholdy
Mendelssohn. Set Type: D.
Set of parts. Lucks Music
Library #A8170. Published
by Lucks Music Library
(TM.05653SET).
Le Depart Op 30
No. 2, Le Gondolier Op 30
No. 6, Scherzetto Op 102
No. 3, Marche Funebre Op
62 No. 3, La Chasse Op 19
No. 3. $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Complete Works for Violoncello and Pianoforte Violoncelle, Piano Barenreiter
Volumes 1 and 2. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edi...(+)
Volumes 1 and 2.
Composed by Felix
Bartholdy Mendelssohn
(1809-1847). Edited by R.
Larry Todd. This edition:
urtext edition.
Paperback. Performance
score and part,
anthology. 99/27, 54/19
pages. Published by
Baerenreiter Verlag
(BA.BA9098).
$76.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Year 1812 Op. 49 Breitkopf & Härtel
Woodwinds (picc.2.2.cor ang.2.2. - 4.2.2CaP.3.1. - timp.perc(4) - str) SKU: B...(+)
Woodwinds (picc.2.2.cor
ang.2.2. - 4.2.2CaP.3.1.
- timp.perc(4) - str)
SKU: BR.OB-5528-30
Festival Overture -
Urtext. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Polina Vajdman. Folder.
Orchester-Bibliothek
(Orchestral Library). The
piece is a masterful
example of program music
that seemingly casually
interweaves two Russian
folk songs, a liturgical
melody of the Russian
Orthodox Church and two
national anthems, the
Marseillaise and the
Czar's Hymn. Overture;
Romantic. Set of parts.
168 pages. Duration 16'.
Breitkopf and Haertel #OB
5528-30. Published by
Breitkopf and Haertel
(BR.OB-5528-30). ISBN
9790004341100. 10 x 12.5
inches. A
Tchaikovsky Urtext is no
longer a rarity in
Breitkopfs orchestral
catalogue. Polina Vajdman
has edited a very popular
repertoire work that the
composer personally did
not think very highly of.
He even confessed to
having written the work
without the warmth of
love. Nevertheless, the
piece is a masterful
example of program music
that seemingly casually
interweaves two Russian
folk songs, a liturgical
melody of the Russian
Orthodox Church and two
national anthems, the
Marseillaise and the
Czars Hymn. The work was
written for the
consecration of the
Christ the Savior
Cathedral in Moscow,
which was erected in
memory of the victory
over Napoleon in 1812.
The first edition of the
score, which was
carefully corrected three
times by Tchaikovsky, is
the principal source for
this Urtext edition. The
wording of the title The
Year 1812 corresponds to
the composers words, but
was oddly never included
in the first edition. $145.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 [Conducteur] Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 0.2.0.2. - 0.2...(+)
Chorus (with soloists)
and orchestra (solos:
SATB - choir: SATB -
0.2.0.2. - 0.2.3.0. -
timp - org - str(without
va)) SKU:
BR.PB-5329
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $51.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Adaptable Quartets for Trombone/Bassoon - Facile Excelcia Music Publishing
Trombone/Bassoon - early intermediate SKU: XC.WB2020 21 Quartets for A...(+)
Trombone/Bassoon - early
intermediate SKU:
XC.WB2020 21
Quartets for Any Wind &
Percussion
Instruments. Composed
by Various. Arranged by
Matthew R. Putnam and
Tyler Arcari. Concert and
Contest. Adaptable
Ensemble Series. Solo and
Ensemble. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2020. Published by
Excelcia Music Publishing
(XC.WB2020). ISBN
9781644020630. 9 x 12
inches. Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Quartets follow
the popular Adaptable
Duets and Adaptable Trios
books by the same
composers. Tyler Arcari
and Matthew R. Putnam
bring with them a wealth
of educational experience
as music educators to
craft quartets that are
fun to play and musically
stimulating. Adaptable
Quartets are sure to
become an instant
favorite.
Table of
Contents Biographies,
Abide with me, Agincourt
Carol, The Barber of
Seville, Be Thou My
Vision, Capstone March,
Chorale - From Jupiter,
Country Gardens, Curse of
Tortuga, Dawn of the
Century March, Fortune
Favors the Bold, Gesu
Bambino, Go Tell it on
the Mountain,
Greensleeves, Home on the
Range, In the Hall of the
Mountain King, Les
Toreadors, Scimitar!, Sea
Shanty, Song Without
Words, The Emperor Waltz,
When Johnny Comes
Marching Home. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Woodwinds (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wi...(+)
Woodwinds (solos: SATB -
choir: SATB - 0.2.0.2. -
0.2.3.0. - timp - org -
str(without va)) SKU:
BR.OB-5329-30
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Folder.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Set of
parts. Composed 1780. 56
pages. Duration 20'.
Breitkopf and Haertel #OB
5329-30. Published by
Breitkopf and Haertel
(BR.OB-5329-30). ISBN
9790004333563. 10 x 12.5
inches. According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998. $71.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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