By William Bay and Mike Christiansen. For Guitar (All). Methods. Mastering Guita...(+)
By William Bay and Mike
Christiansen. For Guitar
(All). Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 8.75x11.75. 136
pages. Published by Mel
Bay Publications, Inc.
Oboe SKU: BT.9781408105283 Composed by Helen McKean. Abracadabra. Method....(+)
Oboe
SKU:
BT.9781408105283
Composed by Helen McKean.
Abracadabra. Method. Book
with CD. Collins Music
Publishing
#9781408105283. Published
by Collins Music
Publishing
(BT.9781408105283).
Written to accompany ten of the famed Charlier !tudes at the suggestion of Pierr...(+)
Written to accompany ten
of the famed Charlier
!tudes at the suggestion
of Pierre Thibaud,
celebrated trumpet
virtuoso and master
teacher, Cottet has
created delightful piano
accompaniments that will
make these etudes
wonderful concert pieces.
Written to accompany both
Bd and C trumpets, these
versatile piano
accompaniments will
surely become a welcomed
addition to the Charlier
!tudes. This is a great
new addition to the
Balquhidder Music catalog
exclusively distributed
by Carl Fischer Music.
(102 Fine Airs, Strathspeys, Reels, Jigs and Songs). Edited by Sara Johnson. For...(+)
(102 Fine Airs,
Strathspeys, Reels, Jigs
and Songs). Edited by
Sara Johnson. For
hammered dulcimer,
fiddle, flute, mandolin,
or guitar. Collection. 60
pages. Published by
Kitchen Musician Books
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
DVD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. 136 pages.
Published by Alfred Music
Publishing
24 Classical
Masterpieces.
Arranged by Ivo Weijmans.
De Haske Play-Along Book.
Classical. Book
[Softcover]. Composed
2005. 46 pages. De Haske
Publications #1053787.
Published by De Haske
Publications
(HL.44005498).
ISBN
9789043122214. UPC:
073999370744.
9.0x12.0x0.221 inches.
English-German-French-Dut
ch.
This book
contains a selection of
famous classical pieces
that have been carefully
adapted for the marimba.
Composers such as Bach,
Mozart, Beethoven,
Vivaldi, Rimsky Korsakov
and Clementi are all
included. The book
enables marimba players
with reasonable playing
experience to perform
these splendid
masterpieces. The pieces
are ordered by difficulty
and, with the exception
of a few pieces at the
end of the book which
require four mallets, are
all playable with two
mallets. Musical style
and good technique are
essential for a good
performance. In addition
to making wonderful
concert pieces the
exciting arrangements in
this book will also make
a most useful teaching
tool.
Dit boek
bevat een aantal
meesterwerken uit de
klassieke muziek die
zorgvuldig zijn bewerkt
voor marimba. Componisten
als Bach, Mozart,
Beethoven maar ook
Vivaldi, Rimsky-Korsakov
en Clementi komen aan
bod. Enigszins geoefende
marimbaspelerszullen
prima met deze juweeltjes
uit de voeten kunnen.
Daarbij zijn stijl en een
goede uitvoering
belangrijk. De meeste
werken zijn speelbaar met
twee mallets, maar achter
in het boek zijn ook
enkele stukken bewerkt
voorvier mallets. De
werken zijn gerangschikt
naar moeilijkheidsgraad.
Een must voor de
ambitieuze muzikant en
een ideaal hulpmiddel
voor de les- en
uitvoeringspraktijk. <
br>Masters on
Marimba enthalt eine
Auswahl an beruhmten
klassischen Stucken, die
sorgfaltig fur das
Marimbaphon bearbeitet
wurden. Komponisten wie
Bach, Mozart, Beethoven,
Vivaldi, Rimski-Korsakow
und Clementi sind hier
vertreten. Mit diesem
Buch bekommen Spieler mit
etwas Erfahrung die
Gelegenheit, diese
Meisterwerke zu spielen.
Die Stucke sind nach
Schwierigkeitsgrad
geordnet und konnen - bis
auf einige Stucke am Ende
des Buches, die vier
Schlagel erfordern - mit
zwei Schlageln gespielt
werden. Stilistisch und
technisch gutes Spiel ist
entscheidend fur einen
guten
Vortrag.
Master
s on Marimba une
selection de celebres
œuvres classiques de
compositeurs tels que
Marais, Senaille, Bach,
Mozart, Beethoven,
Vivaldi, Rimski-Korsakov
et Clementi. La plupart
des compositions se
jouent avec deux
baguettes, a l'exception
de quelques oeuvres qui
ont ete arrangees pour
quatre baguettes.
Masters on
Marimba e una
selezione di celebri
opere classiche di
compositori quali Marais,
Senaille, Bach, Mozart,
Beethoven, Vivaldi,
Rimski-Korsakov e
Clementi. La maggior
parte delle composizioni
e da suonare con due
bacchette, ad eccezione
di brani arrangiati per
quattro bacchette. Con
Masters of Marimba
affronterete uno
specifico repertorio che
vi permettera di affinare
la vostra musicalita, il
vostro tocco e la
precisione ritmica.
Potrete poi esibirvi in
pubblico dimostrando come
anche la marimba possa
suonare da solista al
pari di altri strumenti,
per intensita di suono e
morbidezza
d'espressione.
Europa Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant De Haske Publications
Concert Band - Grade 1.5 SKU: BT.DHP-1094787-040 Composed by Ludwig van B...(+)
Concert Band - Grade 1.5
SKU:
BT.DHP-1094787-040
Composed by Ludwig van
Beethoven and
Marc-Antoine Charpentier.
Arranged by Jan de Haan.
Flexible 4 Series.
Concert Piece. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094787-040.
Published by De Haske
Publications
(BT.DHP-1094787-040).
9x12 inches.
English-German-French-Dut
ch.
Jan de Haan
combines a famous prelude
and a famous finale from
the pens of two famous
European composers. Both
familiar themes are still
frequently played today.
The prelude, from Marc
Antoine Charpentier's Te
Deum, is featured asthe
theme for today's
Eurovision Song Contest.
The finale, from the
final movement of
Beethoven's Ninth
Symphony, has become the
European Anthem. Your
band will enjoy
performing these master
works that have been
carefully scoredin a
four-part flexible
instrumentation. Dur:
2:40 (Grade 2).
Choir; Early Music; Voice SKU: UT.ODH-35 Edited by Stefania Lanzo. Paperb...(+)
Choir; Early Music; Voice
SKU: UT.ODH-35
Edited by Stefania Lanzo.
Paperback (Soft Cover).
Odhecaton. Classical.
Softcover. 144 pages. Ut
Orpheus #ODH 35.
Published by Ut Orpheus
(UT.ODH-35).
ISBN
9790215322578. 9 x 12
inches.
L’am
orosa caccia is a
collection of 24
madrigals for five
voices, created specially
by as many composers
originating from Mantua.
All were distinguished
professional people,
working within the
church, at court or in
the Palatine basilica of
Saint Barbara, and music
lovers of noble birth
from the area who were
somehow connected to the
Academy of the Invaghiti,
or perhaps part of the
same. Among the
established musicians of
the collection are to be
mentioned: G.M. Bacchino,
H. Baccusi, P. Cantino,
A. Coma, G. Moro, S.
Nascimbeni, A. Nuvoloni,
N. Parma, G.B. Recalchi,
F. Rovigo, A. Striggio,
R. Trofeo. The
lesser-known, however,
seem to be: C. Accelli,
E. Ceruti, S. Cressoni,
P. Marni, A. Preti, while
the following: H.
Borelli, C. Ceruti, O.
Grassi, P. Massari, G.B.
Orto, F. Ramesini, C.
Zucca have become known
as composers only thanks
to L’amorosa
caccia. The
realization in score of
the madrigals has made it
possible to bring to
light this collection,
establishing its actual
musical value and proving
the remarkable mastery of
madrigal writing of these
24 musicians and offering
the opportunity to
highlight each
one’s different
skill as a composer. If
some of them have proved
to be completely in line
with the practices of the
time, verging on
Augenmusik, others stand
out for the wide variety
of their harmonies,
melodies and rhythms,
seeking the best musical
expressions to express
the affetti contained in
the text. There are
no major breakthroughs,
but, if the contrapuntal
procedures are as to be
expected, the body of
voices, the
experimentation, the
interplay between the
parts and the harmonic
sensitivity show
familiarity with the
vocal virtuosity of the
concerti di dame of
Ferrara and Mantua,
bringing out what was
most modern at the time.
The possibility that
these madrigals may
actually have been
performed by that very
group of talented singers
is enchanting and
entirely plausible.
Guitar (fingerpicking) SKU: MB.30844M An Autobiography of Nehemiah Ski...(+)
Guitar (fingerpicking)
SKU: MB.30844M
An Autobiography of
Nehemiah Skip James.
Composed by Nehemiah Skip
James. Theory and
Reference, Squareback
saddle stitch. Style.
Book and online audio.
132 pages. Mel Bay
Publications, Inc
#30844M. Published by Mel
Bay Publications, Inc
(MB.30844M).
ISBN
9781513464268. 8.75 x
11.75
inches.
Skip James was one
of the most influential
early Bluesmen, but his
importance as a stylist
remained undiscovered
until he was brought out
of a long retirement by
the Folk/Blues revival of
the early 1960â??s. Born
in 1902 and raised in
Bentonia, Nehemiah Curtis
James was brought up in a
religious family: his
father was a bootlegger
who reformed and became a
Baptist preacher. Skip
learned piano in school
but picked up guitar from
his friend Henry Stuckey.
In 1931 Skip was picked
up by a scout for
Paramount Records and he
cut 26 tracks, of which
18 were released, in a
two day session at their
Grafton, Wisconsin
studios. These recordings
presented a unique and
haunting genius that
influenced legendary
bluesmen as Robert
Johnson, Kansas Joe McCoy
and Johnny Temple. But
the recordings sold
poorly, having been
released during the Great
Depression, and he
drifted into
obscurity.
<
span style=font-family:
Arial;> We have included
as online downloads
Skipâ??s 1931
recordings. The crackling
sound of these rare
recordings cannot obscure
the brilliance of this
seminal Blues
master.
After over 30
yearâ??s retirement from
music, Skip was
rediscovered by Blues
enthusiasts Bill Barth,
John Fahey and Henry
Vestine. They persuaded
Skip to appear at the
Newport Folk Festival in
1964, where his
renditions of his old
songs were still powerful
and moving. His
performances as well as
his old and new
recordings influenced a
generation of new
musicians: Eric Clapton,
Alan Wilson of Canned
Heat, Cream, Deep Purple,
Chris Thomas King, Alvin
Youngblood Hart, Derek
Trucks, Beck, Big Sugar,
John Martyn, Lucinda
Williams and Rory Block
to name a
few.
Books on
legendary Blues musicians
written by white
musicologists tend to
offer a subjective
perspective on how the
artists felt, thought or
reacted. A tainted
picture is captured that
has more to do with the
writerâ??s social and
musical experiences. This
autobiography is
different. The words,
thoughts and feelings
come directly from the
artistâ??s lips. This is
the story of Nehemiah
â??Skipâ? James told
by Nehemiah â??Skipâ?
James.
By Charles-Louis Hanon. Arranged by John W. Schaum. For Piano. Piano - Schaum Me...(+)
By Charles-Louis Hanon.
Arranged by John W.
Schaum. For Piano. Piano
- Schaum Method
Supplement; Piano
Supplemental. Schaum
Master Composer Series.
Romantic. Intermediate.
Book. 40 pages. Published
by Alfred Music
Publishing
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-26. Published by
Breitkopf and Haertel
(BR.OB-5148-26).
ISBN
9790004329702. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Folder.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Set of parts. 18
pages. Breitkopf and
Haertel #OB 5148-30.
Published by Breitkopf
and Haertel
(BR.OB-5148-30).
ISBN
9790004329719. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-15. Published by
Breitkopf and Haertel
(BR.OB-5148-15).
ISBN
9790004329672. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-19. Published by
Breitkopf and Haertel
(BR.OB-5148-19).
ISBN
9790004329696. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Philippe A.
Autexier. Choir; stapled.
Partitur-Bibliothek
(Score Library). In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
,,Meistermusik. Classical
period. Full score. 20
pages. Breitkopf and
Haertel #PB 5148.
Published by Breitkopf
and Haertel (BR.PB-5148).
ISBN 9790004208908. 9
x 12 inches.
In
1785, Mozart repeatedly
visited the Viennese
Freemasons Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
Meistermusik (Master
Music) for mens chorus
and orchestra. The score
does not contain the
choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Attempted
Reconstruction of the
Original Version of the
'Masonic Funeral Music'
K. 477 (479a).
Composed by Wolfgang
Amadeus Mozart. Edited by
Philippe A. Autexier.
Arranged by Gustave
Sandre. Softcover.
Orchester-Bibliothek
(Orchestral Library). In
1785, Mozart repeatedly
visited the Viennese
Freemasons' Lodge Zur
wahren Eintracht, where
on 12 August Carl von
Konig was elevated to the
rank of a Master. It was
fort his ceremony that
Mozart composed the
,,Meistermusik. Classical
period. Part. 2 pages.
Breitkopf and Haertel #OB
5148-16. Published by
Breitkopf and Haertel
(BR.OB-5148-16).
ISBN
9790004329689. 9 x 12
inches.
In 1785,
Mozart repeatedly visited
the Viennese Freemasons
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the Meistermusik
(Master Music) for mens
chorus and orchestra. The
score does not contain
the choral parts, perhaps
because they were doubled
by the oboe I and
clarinet parts, a
pecularity undoubtedly
suited to the singing
capacity of the Lodge
members. From a detailed
analyses of the work and
of the Freemasons
practices, on can infer
that the text was drawn
from the third
Lamentation of Jeremiah.
Mozart at least entered
the correct date of
composition of the Master
Music in his own work
catalogue, namely Jully
(1785).For a performance
without chorus which most
probably took place on 9
December 1785, Mozart
added three new, low wind
parts which emphasize the
gloomy mood of the work.
It is with these added
parts that the work has
come down to us as the
Maurerische Trauermusik
(Masonic Funeral
Music).
In 1785,
Mozart repeatedly visited
the Viennese Freemasons'
Lodge Zur wahren
Eintracht, where on 12
August Carl von Konig was
elevated to the rank of a
Master. It was fort his
ceremony that Mozart
composed the
Meistermusik.
Chorus a cappella SKU: BR.CHB-3145-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3145-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 28
pages. Breitkopf and
Haertel #ChB 3145-02.
Published by Breitkopf
and Haertel
(BR.CHB-3145-02).
ISBN
9790004403501. 7.5 x 10.5
inches.
Palestrina'
s Missa Paternoster is
one of the masses by this
composer that were
published neither during
his lifetime nor after
his death. The work has
come down to us in one
single manuscript source
from the collections of
the Cappella Sistina in
Rome, a copy transcribed
by D. Brancadore in
1618.The mass is written
on motifs from the
ancient plainchant Pater
noster melody from the
mass liturgy, which
underlays the movements
in an admirable
multiplicity of melodic
forms. New counterpoints
are repeatedly
intertwined with the
themes of the title
melody over the course of
the mass. Certain
idiosyncrasies in the
voice-leading and the
austere sonorities that
recall the late
Netherlandish tradition
give rise to the
hypothesis that this is a
relatively early work of
Palestrina.Several
decades ago, the Missa
Paternoster was published
by Breitkopf & Hartel in
a performance edition
prepared by Hermann
Bauerle. The present
edition is based on the
copy of the work printed
in the Choirbook 68
(Cappella Sistina) of the
Biblioteca Vaticana in
Rome. The poor condition
of the source made it
necessary to compare it
with Haberl's Complete
Edition as weil, after
which two errors have to
be corrected. Our edition
cannot pretend to offer a
definitive reading of the
accidentals, since they
are difficult to
distinguish in the
original. The work was
transposed, as this
seemed more appropriate
to present-day choral
practice. Finally, the
note values were reduced
by a half and the closing
notes reproduced
uniforrnly as longae.
Palestrina's Missa
,,Pater noster occupies a
distinguished position
next to its better known,
four-part fellow works.
lt deserves this rank
thanks to its dignified
and broadly sweeping
themes, the archaic
loftiness of its sound,
and the wealth of motivic
work contained within it.
We sincerely hope that
this new edition will
stimulate choirs to turn
their attention once
again to this rarely sung
mass by the great Roman
master.Rudolf
Ewerhart,January 1962,
Munster (Westf.).
(Dynamic Favorites for Piano). By Larry Shackley. For piano, four-hands. Sacred....(+)
(Dynamic Favorites for
Piano). By Larry
Shackley. For piano,
four-hands. Sacred.
Moderately difficult.
Collection. Published by
Lorenz Publishing Company
(The Ultimate Guide to Building Tone Technique and Flexibility). By Frank T. Wil...(+)
(The Ultimate Guide to
Building Tone Technique
and Flexibility). By
Frank T. Williams. For
trombone. Softcover book.
64 pages. Published by
Carl Fischer
9th Grade and Higher Edition. By William Bay and Mike Christiansen. For Guitar (...(+)
9th Grade and Higher
Edition. By William Bay
and Mike Christiansen.
For Guitar (All).
Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 8.75x11.75. 136
pages. Published by Mel
Bay Publications, Inc.
Hymne an die Nacht Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1053899-140 Composed by Ludwi...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1053899-140
Composed by Ludwig van
Beethoven. Arranged by
Michael Bilkes. Your
Favorite Classics. Score
Only. Composed 2005. 16
pages. De Haske
Publications #DHP
1053899-140. Published by
De Haske Publications
(BT.DHP-1053899-140).
9x12 inches.
English-German-French-Dut
ch.
Hymne an die
Nacht is a deeply moving
theme by the master
composer Ludwig van
Beethoven. It is taken
from his Sonata No. 23 in
F minor, Op. 57
(Appassionata), which he
composed between
1804-1806. This theme
originates from the
second movement of this
famous sonata which
Beethoven himself
considered his best work
in this genre. The
passion of this sonata
inspired Michael Bilkes
to make this beautiful
arrangement.
Hymne an die
Nacht is een
ontroerend thema van
meestercomponist Ludwig
van Beethoven. Het is
afkomstig uit zijn sonate
nr. 23 in F-mineur, opus
57 (Appassionata),
die hij componeerde in
1804-1806. Dit thema komt
uithet tweede deel van
deze beroemde sonate, die
door Beethoven zelf werd
beschouwd als zijn beste.
Het inspireerde Michael
Bilkes tot het schrijven
van deze mooie
bewerking.
Die
Hymne an die Nacht ist
ein bewegendes Thema aus
der Sonate Nr. 23 in
f-Moll, op. 57
(Apassionata) von
Ludwig van Beethoven,
welche er in den Jahren
1804-1806 komponierte.
Das hier verwendete Thema
ist aus dem zweiten Satz
dieser berühmten
Sonate, die seit jeher
gerne zu vielen
festlichen Anlässen
gespielt wird. Michael
Bilkes ließ sich davon
zu dieser schönen
Bearbeitung inspirieren.
Hymne
an die Nacht
(Hei’ge Nacht, o
geisse du) è un canto
appassionato del grande
compositore Ludwig van
Beethoven. La linea
melodica è tratta dal
secondo movimento della
celebre Sonata per piano
n. 23 in Fa minore Op. 57
detta
“Appassionataâ€
(1804-1806) che
Beethoven stesso
considerava come la
più riuscita. Ispirato
da questo capolavoro,
Michael Bilkes ha
realizzato un armonioso
arrangiamento per
banda.
by William Bay. For all guitars. Sacred, strum/sing. Level: Beginning-Intermedia...(+)
by William Bay. For all
guitars. Sacred,
strum/sing. Level:
Beginning-Intermediate.
Book. Songbook. Size
8.75x11.75. 112 pages.
Published by Mel Bay
Pub., Inc.
Violin and Piano SKU: AP.36-60710008 For Violin and Piano. Compose...(+)
Violin and Piano
SKU:
AP.36-60710008
For
Violin and Piano.
Composed by Ralph Vaughan
Williams/ Inspired by a
poem of George Meredith.
Violin. Master String
Series. Book.
LudwigMasters
Publications
#36-60710008. Published
by LudwigMasters
Publications
(AP.36-60710008).
ISBN
9798888522028. UPC:
676737624248.
English.
Ralph
Vaughan Williams, ever
fond of poetry, found
creative impetus for his
beautiful romance The
Lark Ascending, IRV 39,
in an 1881 poem by George
Meredith. Marie Pauline
Hall, to whom the work
was dedicated, gave the
first performance of the
original violin and piano
version, here presented
in a Masters reprint
edition, at Shirehampton
Public Hall on December
15, 1920, beside pianist
Geoffrey Mendham. After
World War I, the composer
expanded the work for
soloist and full
orchestra. This has
become the version most
familiar to listeners.
The violin, lifting its
silvery tones above the
stage, captures the
soaring nature of
Meredith's couplet: Till
lost on his aerial
rings/In light, and then
the fancy sings. Reprint
edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
For voice. Format: vocal songbook (spiral bound). With vocal score and chord nam...(+)
For voice. Format: vocal
songbook (spiral bound).
With vocal score and
chord names. Gospel and
Country. 9x12 inches.
Published by
Brentwood-Benson Music
Publishing. Click here
for Listening
Cassette