| Three Pieces for Trombone and Piano Trombone et Piano Cherry Classics
Composed by Edward Elgar (1857-1934). Arranged by Ralph Sauer. Romantic, Britis...(+)
Composed by Edward Elgar
(1857-1934). Arranged by
Ralph Sauer. Romantic,
British. Solo part and
Piano. Published by
Cherry Classics
(CY.CC2377).
$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 2 Duets [Conducteur] Schott
Performance Score. By Paul Hindemith. Schott. Size 9x12 inches. 8 pages. Publish...(+)
Performance Score. By
Paul Hindemith. Schott.
Size 9x12 inches. 8
pages. Published by
Schott.
$12.99 - Voir plus => Acheter | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139S Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S). UPC:
680160682119. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139L Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L). UPC:
680160682126. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerti RV 468, 482 Ricordi
Basso Continuo, Bassoon, Strings (Score) SKU: HL.50601156 For Bassoon,...(+)
Basso Continuo, Bassoon,
Strings (Score) SKU:
HL.50601156 For
Bassoon, Strings, and
Basso Continuo Score.
Composed by Antonio
Vivaldi. Edited by
Federico Maria Sardelli.
Woodwind Solo. Classical.
Softcover. 52 pages.
Ricordi #PR1434.
Published by Ricordi
(HL.50601156). UPC:
888680739447. 7.75x10.5
inches. Critical edition
by Federico Maria
Sardelli. The
critical edition of these
concertos that have come
down in incomplete form
adds the last piece to
the immense mosaic of
Vivaldi's music for
bassoon; his 39 solo
concertos plus a huge
number of concertante
parts scattered among
works in different
genresindeed constitute a
unique contribution for
his period.
The
critical introduction
takes the opportunity to
sum up the state of
knowledge about this
subject, tracing the
history of this
instrument in Italy from
the seventeenth century
up to Vivaldi, and
identifying possible
performers and
commissioners of his
works written for it. A
surprising picture
emerges: at the very time
when the bassoon had
reached the nadir of its
fortunes, Vivaldi
entrusted to this
instrument an
extraordinary number of
works making extreme
technical demands, clear
evidence that there was a
virtuoso in Venice
capable of playing
them.
The two
concertos RV 468 and RV
482, sadly lacking some
of their movements, are
nevertheless perfectly
playable and enjoyable
piecesthat testify to the
generous assistance given
by Vivaldi to the
maturation of this
instrument. $30.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Clarinet Quartets For Beginners Volume 1 Quatuor de Clarinettes: 4 clarinettes - Facile EMB (Editio Musica Budapest)
Score and Parts. By Various Composers. Arranged by Eva Perenyi, Otto Fricsovszky...(+)
Score and Parts. By
Various Composers.
Arranged by Eva Perenyi,
Otto Fricsovszky, Peter
Perenyi. EMB. Book only.
Published by Editio
Musica Budapest.
$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Clarinet Quartets For Beginners Volume 2 Quatuor de Clarinettes: 4 clarinettes - Facile EMB (Editio Musica Budapest)
Score and Parts. By Various Composers. Arranged by Eva Perenyi, Otto Fricsovszk...(+)
Score and Parts. By
Various Composers.
Arranged by Eva Perenyi,
Otto Fricsovszky, Peter
Perenyi. EMB. Book only.
Published by Editio
Musica Budapest.
$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bassoon ABC Book 2 [Partition + Accès audio] PWM (Polskie Wydawnictwo Muzyczne)
Book with Audio Online Piano Accompaniment (Piano) SKU: HL.50605401 Pi...(+)
Book with Audio Online
Piano Accompaniment
(Piano) SKU:
HL.50605401 Piano
Accompaniment Book with
Audio Online.
Composed by Á and
gnes Mária Herpay.
EMB. Instruction.
Softcover Audio Online.
40 pages. Polskie
Wydawnictwo Muzyczne
#Z20093P. Published by
Polskie Wydawnictwo
Muzyczne (HL.50605401).
ISBN 9781705183007.
UPC:
196288112761. Compr
ising four printed books
and rich digital
material, Bassoon ABC is
a modern and innovative
instrumental method by
Ãgnes Herpay, a
successful Hungarian
bassoonist and teacher.
The method itself
comprises two volumes (Z.
20092, Z. 20093), while
piano accompaniments have
been published in two
further volumes (Z.
20092P, Z. 20093P). In
this book all pieces with
piano accompaniment in
Bassoon ABC vol. 2 are
included. Transposed
versions for tenoroon in
F and G canbe downloaded
at Digikotta free of
charge using the
individual code in the
printed book. $16.45 - Voir plus => Acheter | | |
| Bassoon ABC Book 1 [Partition + Accès audio] PWM (Polskie Wydawnictwo Muzyczne)
Book with Audio Online Piano Accompaniment (Piano) SKU: HL.50605400 Pi...(+)
Book with Audio Online
Piano Accompaniment
(Piano) SKU:
HL.50605400 Piano
Accompaniment Book with
Audio Online.
Composed by Á and
gnes Mária Herpay.
EMB. Instruction.
Softcover Audio Online.
32 pages. Polskie
Wydawnictwo Muzyczne
#Z20092P. Published by
Polskie Wydawnictwo
Muzyczne (HL.50605400).
ISBN 9781705182994.
UPC:
196288112754. Compr
ising four printed books
and rich digital
material, the Bassoon ABC
is a modern and
innovative instrumental
method by Ãgnes
Herpay, a successful
Hungarian bassoonist and
teacher. The method
itself comprises two
volumes (Z. 20092, Z.
20093), while piano
accompaniments have been
published in two further
volumes (Z. 20092P, Z.
20093P). In this book all
pieces with piano
accompaniment in Bassoon
ABC vol. 1 are included.
Transposed versions for
tenoroon in F and G canbe
downloaded at Digikotta
free of charge using the
individual code in the
printed book. $16.45 - Voir plus => Acheter | | |
| 50 Renaissance and Baroque Standards - English version [CD] - Débutant Anne Fuzeau Productions
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
$26.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerts Royaux for one or two Treble Instruments, Bass Viol, Bassoon and Harpsichord (1722) - Avancé Barenreiter
Harpsichord, Diskantinstrumente, Bassoon, Bassviola - Level 5 SKU: BA.BA11844...(+)
Harpsichord,
Diskantinstrumente,
Bassoon, Bassviola -
Level 5 SKU:
BA.BA11844 Composed
by Francois Couperin.
Edited by Denis Herlin.
This edition: urtext
edition. Stapled.
Performance score, Set of
parts (2), anthology.
Baerenreiter Verlag
#BA11844_00. Published by
Baerenreiter Verlag
(BA.BA11844). ISBN
9790006574797. 31 x 24.3
cm inches. This
edition contains
Couperin’s four
“Concerts
royauxâ€, which were
published in 1722 as part
of Book III of his
“Pièces de
clavecinâ€. For the
first time it makes these
pieces, scored for
chamber ensemble,
separately available in
an Urtext edition. It is
based on the musical text
of the solo harpsichord
version found in the
pioneering new edition of
“Pièces de
clavecin III†(BA
10846). The editor has
painstakingly evaluated
the many impressions of
the original print, most
of which he himself
discovered in libraries
throughout the
world.
The preface
(Fr/Eng) contains
informative details on
historical performance
practice and on the
conception of the
“Concerts
royauxâ€, which
Couperin expressly
intended to be performed
either by solo
harpsichord or with
accompanying ensemble.
The modern engraving
preserves essential
features of the original
print, which largely
avoids page-turns within
the pieces. It thereby
brings today’s
players close to the
special sound of this
music in a fascinating
way. Couperin’s
table of embellishments
and symbols as well as a
glossary (Fr/Eng) and a
detailed Critical
Commentary (Eng) round
off this long-overdue
Urtext edition.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Complete Works (JSW) Breitkopf & Härtel
2 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, stri...(+)
2 flutes (piccolo), 2
oboes, 2 clarinets, 2
bassoons, 4 horns, 3
trombones, strings,
timpani, percussion
SKU: BR.SON-619
Lemminkainen op. 22
revidierte Fassung.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Lemminkainens
Happy Ending
Late-romantic; Early
modern. Complete Works.
284 pages. Breitkopf and
Haertel #SON 619.
Published by Breitkopf
and Haertel (BR.SON-619).
ISBN 9790004803219. 10
x 12.5 inches. The
four orchestral scores
which are brought
together in Lemminkainen
op. 22 can be understood
with a bit of imagination
as a kind of program
symphony. All the more
surprising is the
Revision History that
occurred after the first
performances and versions
in 1896 and 1897:
Sibelius soon revised two
pieces, the Swan of
Tuonela (which was soon
to become very popular)
and Lemminkainen returns
home (op. 22 no. 4). He
had both scores printed,
but stowed the two other
pieces away in a drawer
for nearly 40 years
before he gave them their
last polish. The entire
cycle in its last
authorized version was
published in 1954, just
as the composer wished.
This happy ending is
comprehensively
documented in Volume
I/12b of the Sibelius
Complete Edition. $375.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Woodwinds (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-30 Wind s...(+)
Woodwinds (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.OB-5226-30
Wind set. Composed
by Johann Sebastian Bach.
Edited by Klaus Winkler.
Folder.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Set of parts. 14
pages. Duration 12'.
Breitkopf and Haertel #OB
5226-30. Published by
Breitkopf and Haertel
(BR.OB-5226-30). ISBN
9790004331385. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Violin 3 (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-17 Composed b...(+)
Violin 3 (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.OB-5226-17
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Softcover.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Part. 2 pages.
Duration 12'. Breitkopf
and Haertel #OB 5226-17.
Published by Breitkopf
and Haertel
(BR.OB-5226-17). ISBN
9790004331354. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Orchestre Breitkopf & Härtel
Orchestra (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.PB-5226 Composed by ...(+)
Orchestra (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.PB-5226
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library). Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Full score. 16
pages. Duration 12'.
Breitkopf and Haertel #PB
5226. Published by
Breitkopf and Haertel
(BR.PB-5226). ISBN
9790004209561. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $20.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Violin 1 (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-15 Composed b...(+)
Violin 1 (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.OB-5226-15
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Softcover.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Part. 2 pages.
Duration 12'. Breitkopf
and Haertel #OB 5226-15.
Published by Breitkopf
and Haertel
(BR.OB-5226-15). ISBN
9790004331330. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Basso (cello/double bass) (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-...(+)
Basso (cello/double bass)
(1.1.0.1. - 0.3.0.0. -
timp - str) SKU:
BR.OB-5226-26
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Softcover.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Part. 2 pages.
Duration 12'. Breitkopf
and Haertel #OB 5226-26.
Published by Breitkopf
and Haertel
(BR.OB-5226-26). ISBN
9790004331378. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Viola (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-19 Composed by J...(+)
Viola (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.OB-5226-19
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Softcover.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Part. 2 pages.
Duration 12'. Breitkopf
and Haertel #OB 5226-19.
Published by Breitkopf
and Haertel
(BR.OB-5226-19). ISBN
9790004331361. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Suite after the Little Music Book for Anna Magdalena Bach Breitkopf & Härtel
Violin 2 (1.1.0.1. - 0.3.0.0. - timp - str) SKU: BR.OB-5226-16 Composed b...(+)
Violin 2 (1.1.0.1. -
0.3.0.0. - timp - str)
SKU: BR.OB-5226-16
Composed by Johann
Sebastian Bach. Edited by
Klaus Winkler. Softcover.
Orchester-Bibliothek
(Orchestral Library).
Klaus Winkler has
selected seven favorite
pieces from the Little
Music Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. Suite;
Baroque. Part. 2 pages.
Duration 12'. Breitkopf
and Haertel #OB 5226-16.
Published by Breitkopf
and Haertel
(BR.OB-5226-16). ISBN
9790004331347. 9 x 12
inches. Klaus
Winkler has selected
seven favorite pieces
from the Little Music
Book and carefully
expanded the two-part
piano writing to a
four-part texture. This
appealing suite can be
easily mastered by every
amateur orchestra. The
instrumentation is
conceived so as to allow
the greates amount of
performance possibilities
- flute(s), oboe(s),
bassoon(s), and 1-3
trumpets can be added ad
libitum; Violin II used
instead of Viola, and
much more. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Five Divertimenti for Euphonium Trio 3 Euphoniums - Avancé Cherry Classics
Euphonium Trio - Advanced SKU: CY.CC3070 Composed by Wolfgang Amadeus Moz...(+)
Euphonium Trio - Advanced
SKU: CY.CC3070
Composed by Wolfgang
Amadeus Mozart. Arranged
by Ralph Sauer.
Classical. Score and
Parts. Cherry Classics
#CC3070. Published by
Cherry Classics
(CY.CC3070). ISBN
9790530110478. 8.5 x 11
in inches. The Five
Divertimenti K. 439b
consists of 25 pieces
originally scored for two
clarinets or basset horns
and bassoon. It is
assumed that Mozart wrote
these works for the
Stadler brothers, Anton
(famous for the Clarinet
Concerto) and Johann.
Originally scored in C
major (Mr. Sauer has
arranged them in keys
that are more suitable
for the Euphonium), the
25 pieces were grouped
into five movements each.
The styles of the
movements include
Sonata-allegro, Minuet
and Trio, Larghetto,
Adagio, Rondo and even a
Polonaise. This
collection of the Five
Divertimenti is an
immense amount (about 45
minutes and 120 pages
total) of very
entertaining music, all
beautifully arranged by
Ralph Sauer for three
advanced performers. The
third part may be
performed on the
Tuba. $37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Clarinet Solos and Duos: The Ultimate Collection Clarinette CD Sheet Music
SKU: SU.00220334 Woodwinds, Clarinet. Accompanied by piano. CD (PDF Score...(+)
SKU: SU.00220334
Woodwinds, Clarinet.
Accompanied by piano. CD
(PDF Scores). CD Sheet
Music #00220334.
Published by CD Sheet
Music (SU.00220334).
This CD Sheet
Musicâ„¢ collection
makes available a wealth
of music for solo
clarinet including
sonatas, concertos, and
solo works by 28
composers from the 18th,
19th and early 20th
centuries. Also included
are two complete volumes
of collected works: Easy
Duets and Album of Short
Solos by Various
Composers. Works include:
Baermann, C. (Duo
Concertante); Baermann,
H. (Adagio);
Beethoven (3 Duos for
Clarinet and Bassoon);
Berg (4 Pieces for
Clarinet & Piano);
Brahms (Sonata Nos. 1
& 2); Busoni (Elegie
for Clarinet & Piano);
Cavallini (30
Caprices for Clarinet);
Debussy (Première
Rhapsodie); Fauré
(Berceuse); Gade (4
Fantasy Pieces);
Glazunov (Saxophone
Concerto [for clarinet &
piano]); Jeanjean
(Variations on Au Clair
de la Lune); Klosé
)Souvenir); Mason
(Sonata for Clarinet &
Piano); Mendelssohn
(Concert Piece for 2
Clarinets & Piano);
Mozart, L. (Concerto
in Bb major); Mozart,
W.A. (3 Duets for 2
Clarinets); Paganini
(14 Caprices);
Pierné (Pièce
in G minor);
Prokofiev (Visions
Fugitives); Reger
(Sonata Nos. 1 & 2);
Reinecke (Sonata,
Undine);
Saint-Saëns
(Sonata in Eb major);
Schumann (Fantasy
Pieces, 3 Romances);
Spohr (Concerto Nos.
1-4); Stravinsky (3
Pieces for Clarinet
Solo); Wagner (Adagio
for Clarinet & Strings);
Weber (Fantasia &
Rondo, Grand Duo
Concertante) Easy
Duets Book 1: works
by Fodor, Pleyel,
Volckmar, Wanhal; Book 2:
works by Mazas, Bruni,
Campagnoli, Gebauer,
Geminiani, Haydn, Pleyal,
Viotti Album of Short
Solos by Various
Composers: 30
familiar works arranged
for clarinet, including
Brahms (Cradle Song),
Dvorák
(Humoreske), Fibich
(Poéme), Handel
(Largo), Giordani
(Caro mio bien),
Richter
(Seppl-Polka),
Schubert (Ave Maria),
Schumann
(Träumerei), Weber
(Bauernwalzer), and more
Also includes composer
biographies and relevant
articles from the 1911
edition of Grove's
Dictionary of Music and
Musicians 1200+ pages
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quartette fur Holzblaser - Quartets for Woodwinds EMB (Editio Musica Budapest)
By Andras Soos. By Laszlo Zempleni. Book Only. Composed 2010. Editio Musica ...(+)
By Andras Soos. By Laszlo
Zempleni. Book Only.
Composed 2010. Editio
Musica
Budapest #EMBZ14685.
Published by Editio
Musica
Budapest
$23.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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