Par BACH JOHANN SEBASTIAN. The Notebook for Johann Christian Bach completes the collection of surviving instructional works from within the Bach family, following the highly praised Notebooks for Anna Magdalena and Wilhelm Friedemann Bach. Together, Bach?s Notebooks provide a fascinating glimpse into the domestic music academy of the Bach family home. They contain original compositions, exercises, and model examples by other composers, all collected with a view to providing a rounded musical education to family members. Presented as a luxury linen-bound edition with gold-embossed cover lettering, illustrations and critical commentary, this volume includes pieces not featured in previous collections. This first Urtext edition Notebook for Bach?s son Johann Christian has been reconstructed by renowned Bach scholar Christoph Wolff from copies from the estate of C.P.E. Bach. It includes pieces for keyboard by J.S. Bach, Johann Christian?s initial attempts at composition (minuets and polonaises), and pieces by the older brothers Carl Philipp Emanuel and Johann Christoph Friedrich and son-in-law Johann Christoph Altnickol. The collection is completed by two sets of short preludes and fughettas from Bach?s early Leipzig teaching practice, which may have come from other lost notebooks for his family, possibly the one for C.P.E. Bach.    / Date parution : 2023-10-31/ Recueil / Piano

1722-1725. Par BACH JOHANN-SEBASTIAN. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. - Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format - Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach ArchiveRepresents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists - Extensive preface, detailed critical commentary, and beautifully engraved notation - Hardcover clothbound edition with gold embossing - Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format. Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive. Represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists. Extensive preface, detailed critical commentary, and beautifully engraved notation. Hardcover clothbound edition with gold embossing. Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. Alongside it, Edition Peters presents a selection of the most popular pieces from the two notebooks in a practical student edition, drawing on the material of Christoph Wolff's scholarly edition, to be enjoyed by teachers and students alike. / Classique / Répertoire / Piano

The Notebooks for Anna Magdalena Bach 1722 and 1725 for Piano (Premium Edition)
Hardcover Clothbound with Gold Embossing, Urtext
Johann Sebastian Bach
In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court?s Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces ? by Bach and other composers ? to play or sing, early composition efforts from the children, and first versions of some of Bach?s more ambitious keyboard works.
What is usually presented as ?the? Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then.
Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach.
Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format
Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive
Represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists
Extensive preface, detailed critical commentary, and beautifully engraved notation
Hardcover clothbound edition with gold embossing
Printed in Köthen and bound in Leipzig ? the home of Bach and the home of Edition Peters ? this cutting-edge, premium modern edition?s journey to your library retraces the Bach family?s own move from the princely town to the city
This premium edition offers a truly best-in-class publication. / Partitions classique / Piano - instruments à clavier / Piano / EDITION PETERS

Par MOZART WOLFGANG AMADEUS. Until now the edition The Music Books of Mozart and His Sister has only been available as part of the boxed set of Mozart's oeuvre for piano (BA 5749) which has gone out of print. Now, for the first time, it can be purchased separately. Based on the New Mozart Edition, this is the only publication to contain all the pieces, sketches and fragments found in the notebooks. The Foreword by Mozart scholar Wolfgang Plath provides valuable information on the pieces themselves and on the question of their authorship- besides Mozart's earliest juvenilia, some of which formed the basis of later compositions, the notebooks also contain works by Leopold Mozart and other composers. Facsimile illustrations from the autographs convey a lively picture of this collection of easy to moderately difficult keyboard pieces ideally suited for teaching purposes./ Répertoire / Piano

For all Treble clef instruments. Par BRECKER MICHAEL. The legendary saxophonist Michael Brecker kept extensive notes on things to practice over the whole span of his career. This unique and beautifully produced book presents the essence of these notebooks - jam-packed with useful, and often brilliant, musical ideas and over 700 exercises. The Practice Notebooks of Michael Brecker can be used with any treble clef instrument (since he often wrote “Play in all keys!”) and contain explanations of how he actually worked on these ideas from Joey Calderazzo, John Patitucci, Richie Beirach, Steve Khan and Dave Liebman. An appendix of his saxophone-specific exercises on fingerings, multiphonics, etc. is also featured. / Date parution : 2023-07-31/ Etude / Instruments en Clé de Sol, Saxophone Alto, Soprano

Par SCHUMANN CLARA. This book presents seven piano solos that represent the wonderful variety of compositions by Clara Schumann. The brilliant “Polonaise” was composed and performed by Clara as a child prodigy. The enchanting “Prelude, Op. 16, No. 2”, and “Romance, Op. 21. No.2” are both beautiful and suitable for many occasions. The joyful “Mazurka” makes a great recital piece as well as “Scherzo” in C minor. “Nocturne in F, Op. 6, No. 2' is one of the most beautifully written nocturnes. Chopin once told Clara that she was the only woman in Germany that could play his music. She may have been inspired to compose this piece after performing many of Chopin's works in her concerts. The final piece in this collection of Clara Schumann’s Piano Notebook is her “Theme and Variations”, which she dedicated to Robert Schumann. Robert composed and published many variations of his own on Clara's theme. Her own variations remained unknown until recently. These variations are very interesting, and the theme is easily recognizable throughout. “Theme and Variations” truly showcases Clara’s unique sense of creativity. These piano selections are presented as examples of Clara Schumann's legacy–a great composer of the 19th century. Her music is timeless and must be preserved for future generations of pianists. This collection will be valuable for recitals, programs and your own enjoyment. / Date parution : 2020-11-16/ Recueil / Piano

For the first time in one volume, here are 27 of Bach's most famous works, specially selected and arranged for piano, complete with fingering. Suitable for grades 2-4. Includes a special biographical section on Bach and his music. / Piano

Par BACH JOHANN SEBASTIAN. An amazingly inexpensive study edition presenting all of Bach's clavier music in four large, handy volumes containing the definitive Urtext from the New Bach Edition. This unique edition was prepared by internationally recognized scholars on the basis of all known sources and the latest research findings. Besides familiar versions of many pieces, the reader will also discover widely divergent and heavily ornamented variants from Bach's immediate circle. Many of these variants appear here for the first time in print. Generally the contrasting versions faithfully reflect the state of the sources: hybrid versions of the sort often found elsewhere have beenstrictly avoided. An indispensable and reliable edition for all admirers of Bach's clavier music. Contents: Vol. 1: The Well-Tempered Clavier I & II Vol. 2: Clavier Übung I - IV, The Art of Fugue, Ricercari Vol. 3: English Suites, French Suites, Inventions and Sinfonias, Notebook for Wilhelm Friedemann Bach, The Notebooks for Anna Magdalena Bach Vol. 4: Preludes, Individual Piano Works, Toccatas, Arrangements of Works by Other Composers/ Répertoire / Piano

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Notebook printed with a hymn to Saint Cecilia, the patron saint of musicians and church music. These notebook can open flat on a desk and offer 360 degree rotation for easy note taking. A5- 14,8 x 21 cm 80 sheets 80 grs INSIDE: perpetual diary / Accessoire / Accessoire

22 Pieces by 15 Composers. Some of the most often taught original piano literature by dozens of master composers of the past has been carefully selected and compiled by difficulty level. The Upper Elementary edition features 21 pieces by 17 composers, including: Anonynmous (18th century): Musette from The Notebook for Anna Magdalena Bach - Carl Philipp Emanuel Bach: Allegretto scherzando - Carl Philipp Emanuel Bach: March from The Notebook for Anna Magdalena Bach - Wilhelm Friedemann Bach: Air in A minor - Béla Bartók: Walking from The First Term at the Piano - Ludwig van Beethoven: Ecossaise in G Major, WoO 23 - Mélanie Bonis: Meow! Purr! - Muzio Clementi: Sonatina in C Major, Op. 36, No. 1, first movement - William Duncombe: The Chase - Cornelius Gurlitt: To School from The First Lessons, Op. 117, No. 4 - Cornelius Gurlitt: Cradle Song from The First Lessons, Op. 117, No. 17 - Georg Frideric Handel: Bourée in G minor 'Impertinence” HWV 494 - George Frideric Handel: Gavotte in C Major - Wolfgang Amadeus Mozart: Minuet in C Major, K.6 - Wolfgang Amadeus Mozart: Minuet in B-flat Major, K. 15pp - August Eberhard Müller: The Cuckoo - Christian Petzold: Minuet in G from The Notebook for Anna Magdalena Bach - Henry Purcell: Minuet in A minor, Z. 649 - Jean-Philippe Rameau: Menuet en Rondeau - Robert Schumann: Melody from Album for the Young - Charles Henry Wilton: Amabile from Sonatina in C Major. / Niveau : Supérieur Elémentaire / Classique / Recueil / Piano

17 intermediate-level arrangements include: Believer * Corpse Bride (Main Title) * The Batman Theme * Breakaway * Chamber of Secrets * Double Trouble * Everything Burns * For You I Will * How Do I Live * Music of My Heart * Hogwarts' Hymn * I Believe in You and Me * Into the West * Magic Works * The Notebook (Main Title) * Stayin' Alive * Take My Breath Away. 64 pages.

Alfred's Ultimate Movie Instrumental Solos series arranged for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, cello, and optional piano accompaniment. All wind instrument arrangements are fully compatible, and can be successfully performed as ensembles or solos by students who have completed the first book of any standard band method. A fully orchestrated accompaniment MP3 CD is provided, featuring each song as a live performance demo track followed by a play-along track. The CD also contains a PDF of the Piano Accompaniment and Alfred's Tempo Changer Software. Contains 60 songs, Due to level considerations regarding keys and instrument ranges, the wind instrument arrangements are not compatible with the string instrument arrangements in this series. Contains 60 songs : The Pink Panther (from The Pink Panther) The Meadow Picnic (from Star Wars Episode II: Attack of the Clones) The Merry Old Land of Oz (from The Wizard of Oz) The Notebook (Main Title) (from The Notebook) The Prophecy (from Lord of the Rings: The Fellowship of the Ring) Augie's Great Municpal Band (from Star Wars Episode I: The Phantom Menace) Across the Stars (from Star Wars Episode II: Attack of the Clones) Anakin's Theme (from Star Wars Episode I: The Phantom Menace) Live and Let Die (from Live and Let Die) Marion's Theme (from Raiders of the Lost Ark) May the Force Be with You (from Star Wars Episode IV: A New Hope) Nobody Does It Better (from The Spy Who Loved Me) Obliviate (from Harry Potter and the Deathly Hallows, Part 2) On Her Majesty's Secret Service (from On Her Majesty's Secret Service) Optimistic Voices (from The Wizard of Oz) Over the Rainbow (from The Wizard of Oz) Princess Leia's Theme (from Star Wars Episode IV: A New Hope) Many Meetings (from The Lord of the Rings: The Fellowship of the Ring) Rohan (from The Lord of the Rings: The Two Towers) Song from M*A*S*H (Suicide Is Painless) (from M*A*S*H) Star Wars (Main Theme) (from Star Wars Episode IV: A New Hope) Statues (from Harry Potter and the Deathly Hallows, Part 2) In Dreams (from The Lord of the Rings: The Fellowship of the Ring) James Bond Theme (from Dr. No) Leaving Hogwart's (from Harry Potter and the Sorcerer's Stone) Lily's Theme (from Harry Potter and the Deathly Hallows, Part 2) You Only Live Twice (from You Only Live Twice) Battle of the Heroes (from Star Wars Episode III: Revenge of the Sith) Tuning Note (B-flat Concert) The Throne Room (from Star Wars Episode IV: A New Hope) Thunderball (from Thunderball) Tomorrow Never Dies (from Tomorrow Never Dies) Wizard Wheezes (from Harry Potter and the Half-Blood Prince) Wonka's Welcome Song (from Charlie and the Chocolate Factory) The Black Rider (from The Lord of the Rings: The Fellowship of the Ring) Theme from Superman (from Superman) The Arena (from Star Wars Episode II: Attack of the Clones) The Imperial March (Darth Vader's Theme) (from Star Wars Episode V: The Empire Strikes Back) The Lullaby League / The Lollipop Guild / We Welcome You to Munchkinland (from The Wizard of Oz) Double Trouble (from Harry Potter and the Prisoner of Azkaban) Can You Read My Mind? (from Superman) Concerning Hobbits (from The Lord of the Rings: The Fellowship of the Ring) Cantina Band (from Star Wars Episode IV: A New Hope) Diamonds Are Forever (from Diamonds Are Forever) Ding-Dong! The Witch Is Dead (from The Wizard of Oz) Duel of the Fates (from Star Wars Episode I: The Phantom Menace) Evenstar (from The Lord of the Rings: The Two Towers) Follow the Yellow Brick Road / We're Off to See the Wizard (from The Wizard of Oz) Family Portrait (from Harry Potter and the Sorcerer's Stone) Fawkes the Phoenix (from Harry Potter and the Chamber of Secrets) For Your Eyes Only (from For Your Eyes Only) From Russia with Love (from From Russia with Love) Goldfinger (from Goldfinger) Harry's Wondrous World (from Harry Potter and the Sorcerer's Stone) The Steward of Gondor (from The Lord of the Rings: The Return of the King) Gollum's Song (from The Lord of the Rings: The Two Towers) Gonna Fly Now (Theme from Rocky) (from Rocky) Hedwig's Theme (from Harry Potter and the Sorcerer's Stone) I Swear (from The Social Network) If I Only Had a Brain (from The Wizard of Oz) Raiders March (from Raiders of the Lost Ark)

Easy Baroque Pieces for Classical Guitar is an outstanding introduction for the beginner to intermediate guitarist to the music of the Baroque period. Jerry Willard explains the intricacies of Baroque ornamentation (including trills, mordents and notes inégale in an easy-to-understand way, and performs each piece on the accompanying audio CD. Includes standard notation and tab. / Guitare et Guitare Tablatures

This series offers a versatile selection of music for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, and cello. Each book contains carefully edited arrangements appropriate to each instrument, and is well suited for level 2-3 students. The CD includes a fully orchestrated demo track of each song, which features a live instrumental solo performance, followed by a play-along track. Also included are PDFs of piano accompaniments, and Alfred's Tempo Changer Software. / Violoncelle