Chamber Music #1 With Finale Op. 24/137.60 EUR - Voir plus - Acheter
Délais: 3-5 joursMatériel : Conducteur d'étude / Miniature Compositeur/Auteur : Paul HindemithInstrumentation : 12 solo InstrumenteEditeur : Vendeur, prix & stock
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| Orgelsinfonie No. 16
(SCHNEIDER ENJOTT)
Orgue
Schott
Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Ref...(+)
Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.
The composer describes the five movements of the symphony as follows:
'1st movement:
Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.
2nd movement:
In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.
3rd movement:
The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air.
4th movement:
The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air.
5th movement:
The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue
Délais: 2-5 jours - En Stock Fournisseur | | |
| Piano Treasury Of Easy
Classical Music Cd
Piano seul [Partition + CD]
Amsco Wise Publications
Compilation. The Piano Treasury of Easy Classical Music is designed to be the co...(+)
Compilation. The Piano Treasury of Easy Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's favourite inventions, preludes, fugues, minuets, sonata movements, nocturnes, waltzes, mazurkas, intermezzos, romantic short pieces, impressionistic works, and light classics, as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas, and ballets by the master composers of the past four centuries. / Niveau : Elémentaire / Rép Classique / Recueil / Piano
Délais: 2-5 jours - En Stock Fournisseur | | |
| Classical Vienna (Piano
Trio)
Piano Trio: piano, violon, violoncelle [Conducteur et Parties séparées]
Alfred Publishing
A delightful collection of well-loved piano solos (and one song) by Haydn, Mozar...(+)
A delightful collection of well-loved piano solos (and one song) by Haydn, Mozart, and Beethoven; arranged - with equal difficulty parts - for violin, cello and piano. Whether just for pleasure, or a public concert, or as GCSE/A-level ensembles, these pieces will be very useful, with the added bonus of having familiarity in another form. They would also make appealing encores for amateur or professional chamber musicians. Level: Grades 6-7; Early Advanced-Advanced. / Ensemble Music, Instrumental Music / Recueil / Piano, Violon et Violoncelle
Délais: 2-5 jours - En Stock Fournisseur | | |
| Hindemith P. - Chamber
Music N°5 Op.36/4 -
Conducteur De Poche
Eulenburg
Studienpartitur - STP - solo-viola, gr. flute, oboe, 2 clarinets (in Eb and B), ...(+)
Studienpartitur - STP - solo-viola, gr. flute, oboe, 2 clarinets (in Eb and B), bassclarinet (in Bb), 2 bassoons, contrabassoon, horn (in F), 2 trumpets (in C), 2 trombones, basstuba, 4 cellos, 4 double basses The chamber music works are among Hindemith's most successful instrumental works of the 1920s. At the world premiere of 'Chamber Music No. 1', the audience even demanded a repetition of the third and fourth movements. But the title of the series of works consisting of seven compositions altogether is misleading: The individual pieces rather have concertante soloistic features. No. 1 is characterised by 'instruments', like a can filled with sand and a siren, as well as the rich use of percussion. The scores are based on Vol. IV/2 (PHA 402) of the Hindemith Complete Edition, edited by Giselher Schubert. Contenu - Preface - Vorwort - Sehr schnell und wild - Mäßig schnelle Halbe. Sehr streng im Rhythmus - Quartett. Sehr langsam und mit viel Ausdruck - Finale: 1921. Äußerst lebhaft
Délais: Sur commande | | |
| Quintet In D Major (Piano
Score And Parts) (VAUGHAN
WILLIAMS RALPH)
Piano Quintette: Instruments de
chambre mixtes [Partition]
Faber Music Limited
Par VAUGHAN WILLIAMS RALPH. Quintet in D is in four movements: Allegro moderato ...(+)
Par VAUGHAN WILLIAMS RALPH. Quintet in D is in four movements: Allegro moderato - Allegretto Intermezzo - Andantino , and - Allegro molto finale . If it only fitfully contains elements of the mature Vaughan Williams, it is a delightful work in its own right, with playful touches and more than a ration of charm. The writing for piano is very accomplished and shatters the myth, much propagated by the composer himself, that he lacked technique. It is like anglicised Brahms with a sense of humour, notably in the Intermezzo, and there is even an allusion to the slow movement of Brahms' Fourth Symphony in the Andantino. The total duration is about 25 minutes./ Répertoire / Ensemble Mixte
Délais: 2-5 jours - En Stock Fournisseur | | |
| Suite italienne
(STRAVINSKY IGOR)
Contre Basse [Partition]
Boosey and Hawkes
Par STRAVINSKY IGOR. This transcription of Suite italienne is the first full-sca...(+)
Par STRAVINSKY IGOR. This transcription of Suite italienne is the first full-scale composition by Igor Stravinsky to enter the double bass solo repertoire. Brian Powell, Associate Professor of Double Bass at the Frost School of Music, University of Miami, has adapted the versions of Suite italienne for violin and for cello as best suits the double bass. Moreover, he has widened the selection of movements, thus continuing a practice Stravinsky established with his instrumental collaborators (Dushkin and Piatigorsky) of allowing the performers to select material from the ballet Pulcinella. In this case the movements comprise Introduzione, Serenata, Aria, Vivo, Tarantella, Gavotta con due variazione, Scherzino and Minuetto e Finale. The Vivo movement is derived directly from the orchestral Pulcinella Suite: widely recognised by classical bassists as one of the most significant solos in the orchestral repertoire, the bass part is faithfully reproduced as in the original score.
Suite italienne has music that will appeal to bassists of various performance levels – solo, chamber and orchestral bassists alike will appreciate different aspects of this music. The suite also possesses an abundance of flare and technical virtuosity that will excite audiences./ Répertoire / Contrebasse
Délais: 2-5 jours - En Stock Fournisseur | | |
| String Quartet In B-Flat
Major Op. 130 (BEETHOVEN
LUDWIG VAN)
Quatuor à cordes: 2 violons,
alto, violoncelle [Partition]
Barenreiter
Arrangeur: Jonathan Del Mar. Par BEETHOVEN LUDWIG VAN. Although Beethoven did no...(+)
Arrangeur: Jonathan Del Mar. Par BEETHOVEN LUDWIG VAN. Although Beethoven did not live to see the publication of his String Quartets op. 130 and op. 133, he oversaw the production process, making corrections and putting the works into their final form. The String Quartet op. 130 is the longest piece within Beethoven's extensive chamber music oeuvre. Originally, the Große Fuge was meant to be the final movement of op. 130. Beethoven's conversation books document the separation of the Große Fuge from op. 130, its replacement by a new finale and its assignment to a new opus number op. 133. / Date parution : 2019-11-29/ Répertoire / Quatuor à Cordes
Délais: 2-5 jours - En Stock Fournisseur | | |
| Chamber Music #1 With
Finale Op. 24/1
12 solo Instrumente [Conducteur d'étude / Miniature]
Schott
/ Flûte Traversière (Piccolo), Clarinette (En Sib), Basson, Trompette (En Sib...(+)
/ Flûte Traversière (Piccolo), Clarinette (En Sib), Basson, Trompette (En Sib), Accordéon, Piano, Percussions (1 Joueur), 2 Violons, Alto, Violoncelle Et Contrebasse
Délais: 2-5 jours - En Stock Fournisseur | | |
| HENRIK WIESE - THE
PICCOLO AUDITION
Flûte traversière
UNIVERSAL EDITION
Henrik Wiese once again draws on his wealth of experience as a flutist and pedag...(+)
Henrik Wiese once again draws on his wealth of experience as a flutist and pedagogue: with his book “The Piccolo & Alto Flute Audition“, he has compiled a total of 207 audition excerpts in a carefully edited and clearly arranged compendium. In alphabetical order, it contains standard passages from orchestral works of various genres throughout music history, both common and less frequently requested. This up-to-date collection is a reliable companion and indispensable for optimal preparation for international auditions of all kinds at the opera, with symphony or chamber orchestras.
Easy-to-read, uniform and modern layout make the edition convenient to use. The critical report and chronological list of audition excerpts for quicker stylistic classification make the editor a comprehensive coach for flutists. Numerous other tips and remarks gained by Wiese from his practical experience and exchange with colleagues and students complete the book. International demand is fulfilled by the texts being in three languages (German, French, English), thus making “The Piccolo & Alto Flute Audition“ the equivalent of the already established edition “The Flute Audition“.
Bartók Béla: III. Pe loc aus Rumünische Volkstänze
Bartók Béla: III. Elegia aus Concerto for Orchestra
Bartók Béla: V. Finale aus Concerto for Orchestra
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 5
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 9
Berg Alban: 1. Akt, 4. Szene aus Wozzeck
Berg Alban: 2. Akt, 2. Szene aus Wozzeck
Berlioz Hector: 3. Teil, Szene XII. Meuet des Follets aus La damnation de Faust
Berlioz Hector: V. Songe d'une nuit du Sabbat aus Symphonie fantastique
Bizet Georges: 1. Akt, Nr. 2 Marche et choeur des gamins aus Carmen
Bizet Georges: 3. Akt, Nr. 18 Introduction aus Carmen
Borodin Alexander: Allegro vivo und Presto aus Polowetzer Tänze
Brahms Johannes: Variation V aus Variationen über ein Thema von Haydn
Brahms Johannes: Variation VIII aus Variationen über ein Thema von Haydn
Brahms Johannes: 4. Satz aus Klavierkonzert Nr. 2
Brahms Johannes: 3. Satz aus Symphonie Nr. 4
Britten Benjamin: II. Sunday Morning aus Four Sea Interludes
Britten Benjamin: IV. Storm aus Four Sea Interludes
Britten Benjamin: Variation A aus The Young Person's Guide to the Orchestra
Britten Benjamin: Fugue aus The Young Person's Guide to the Orchestra
Delibes Léo: 2. Akt, Nr. 11 Musique des automates aus Coppélia
Donizetti Gaetano: Sinfonia aus Don Pasquale
Donizetti Gaetano: Nr. 7 Scena e Quartetto aus Don Pasquale
Dukas Paul: Scherzo, Poco animando und Vif aus L'Apprenti sorcier
Dvorák Antonín: 3. Satz aus Symphonie Nr. 6
Dvorák Antonín: 1. Satz aus Symphonie Nr. 9
Händel Georg Friedrich: 1. Akt, Nr. 11 Aria Augelletti, che cantate (Almirena) aus Rinaldo
Hindemith Paul: II. Marsch und Pastorale aus Nobilissima Visione
Holst Gustav: III. Merkur aus Die Planeten
Holst Gustav: Dance of the spirits of water aus der Ballettmusik The Perfect Fool
Ippolitov-Ivanov Michail: Nr. 4 Procession of the Sardar aus Suite Nr. 1 Caucasian Sketches
Janácek Leoš: 3. Satz The Queen's Monastery, Brno aus Sinfonietta
Kodály Zoltán: Marosszéker Tänze
Kodály Zoltán: Tänze aus Galánta
Ljadow Anatoli: VII. Dancing Song aus Acht russische Volkslieder
Mahler Gustav: III. Von der Jugend aus Das Lied von der Erde
Mahler Gustav: IV. Urlicht aus Symphonie Nr. 2 Auferstehung
Mahler Gustav: V. Der große Appell aus Symphonie Nr. 2 Auferstehung
Mozart Wolfgang Amadeus: 2. Akt, Nr. 13 Aria Alles fühlt der Liebe Freuden (Monostatos) aus Die Zauberflöte
Ponchielli Amilcare: 3. Akt Danza delle Ore, Finale aus La Gioconda
Prokofieff Sergei: I. The Birth of Kijé aus der Suite Leutnant Kishe
Prokofieff Sergei: IV. Troika aus der Suite Leutnant Kishe
Puccini Giacomo: Suor Angelica
Puccini Giacomo: 3. Akt, 1. Szene aus Turandot
Ravel Maurice: II. Malagueña aus Rapsodie espagnole
Ravel Maurice: IV.Feria aus Rapsodie espagnole
Ravel Maurice: II. Petit Poucet aus My mère l'Oye
Ravel Maurice: III. Laideromette, Imperatrice des Pagodes aus My mère l'Oye
Ravel Maurice: Lever du jour aus der Suite Daphnis et Chloé
Ravel Maurice: Pantomime aus der Suite Daphnis et Chloé
Ravel Maurice: Danse générale aus der Suite Daphnis et Chloé
Ravel Maurice: Boléro
Ravel Maurice: 1. Satz aus Klavierkonzert G-Dur
Ravel Maurice: 3. Satz aus Klavierkonzert G-Dur
Rimski-Korsakow Nikolaj: 3. Satz The Young Prince and The Young Princess aus Sheherazade
Rimski-Korsakow Nikolaj: 4. Satz Festiva at Baghdad aus Sheherazade
Rossini Gioachino: Sinfonia aus der Ouverture zu La scala di seta
Rossini Gioachino: Sinfonia aus der Ouverture zu L'Italiana in Algeri
Rossini Gioachino: 1. Akt, Nr. 2 Cavatina Largo al Factotum (Figaro) aus Il barbiere di Siviglia
Rossini Gioachino: 1. Akt, Nr. 8 Finale 1, Stretta aus Il barbiere di Siviglia
Rossini Gioachino: Sinfonia aus der Ouverture zu La gazza ladra
Rossini Gioachino: Sinfonia aus der Ouverture zu Semiramide
Rossini Gioachino: Sinfonia aus der Ouverture zu Wilhelm Tell
Schönberg Arnold: Nr. 18 Der Mondfleck aus Pierrot lunaire
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 7
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 4. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 5. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 15
Sibelius Jean: III. Alla marcia aus der Suite Karelia
Smetana Bedrich: Vivacissimo aus Die verkaufte Braut
Sousa Filipe de: March aus The Stars and Stripes Forever
Strauß Johann (Sohn): Ouverutre aus Die Fledermaus
Strawinsky Igor: Variation de l'oiseau de feu aus der Suite L'Oiseau de Feu
Strawinsky Igor: Ronde des princesses (Khorovode) aus der Suite L'Oiseau de Feu
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 4. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 2. Akt, Nr. 12 Divertissement, c) Le thé (Danse chinoise) aus Der Nussknacker
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 6
Verdi Giuseppe: 2. Akt Ballabile aus der Oper Aida
Verdi Giuseppe: 1. Akt Coro Fuoco di goia aus der Oper Otello
Verdi Giuseppe: 3. Akt Ballettmusik aus der Oper Otello
Verdi Giuseppe: 1. Akt, 2. Teil aus der Oper Falstaff
Verdi Giuseppe: 1. Akt, Nr. 2 Introduzione aus der Oper La traviata
Verdi Giuseppe: 1. Teil, 1. Szene, Nr. 4 Coro di Zingari e Canzone aus der Oper Il trovatore
Verdi Giuseppe: 3. Akt, Nr. 13 Scena, Terzetto e Tempesta aus der Oper Rigoletto
Wagner Richard: 3. Szene aus der Oper Das Rheingold
Wagner Richard: 3. Akt, 2. Szene Feuerzauber aus der Oper Die Walküre
Holst Gustav: V. Saturn, the Bringer of Old Age aus Die Planeten
Holst Gustav: VII. Neptun, the Mystic aus Die Planeten
Ravel Maurice: 1. Teil Danse religieuse aus Daphnis et Chloé
Ravel Maurice: 1. Teil Danse générale aus Daphnis et Chloé
Ravel Maurice: 2. Teil Danse guerrière aus Daphnis et Chloé
Ravel Maurice: 3. Teil Lever du jour aus Daphnis et Chloé
Ravel Maurice: 3. Teil Pantomime aus Daphnis et Chloé
Ravel Maurice: 3. Teil Danse générale aus Daphnis et Chloé
Strawinsky Igor: 1. Teil L'Adoration de la terre aus Le sacre du printemps
Strawinsky Igor: 1. Teil Danses des adolescentes aus Le sacre du printemps
Strawinsky Igor: 1. Teil Rondes printanières aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Introduction aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Cercle mystérieux des adolescentes aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Action rituelle des ancêtres aus Le sacre du printemps / Partitions classique / Bois / Flûte traversière / UNIVERSAL EDITION
Délais: En Stock | | |
| Parnassus (VAN DER ROOST
JAN)
Ensemble de cuivres [Conducteur] - Intermédiaire/avancé
De Haske Publications
Par VAN DER ROOST JAN. Since most of the bands competing in the 4th Section of t...(+)
Par VAN DER ROOST JAN. Since most of the bands competing in the 4th Section of the Dutch National Championships have many young players, this piece is stylistically youthful especially in the opening and closing sections. An arpeggio pattern appears numerous times in all registers and is the basic musical element of the main melody, alternating with a second theme that has a slightly different melodic character. The middle section is conceived like a chorale, introduced and developed stepwise: firstly with short patterns and gradually in increasingly long snippets, until it’s played in its glorious entirety at measure 216. No real solo passages are included but rather small chambercombinations, thus offering the opportunity to various players to display their technical and performance skills. The finale recaptures musical material from the first section of the piece and provides a majestic conclusion. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band
Délais: 2-5 jours - En Stock Fournisseur | | |
| Parnassus (VAN DER ROOST
JAN)
Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire/avancé
De Haske Publications
Par VAN DER ROOST JAN. Since most of the bands competing in the 4th Section of t...(+)
Par VAN DER ROOST JAN. Since most of the bands competing in the 4th Section of the Dutch National Championships have many young players, this piece is stylistically youthful especially in the opening and closing sections. An arpeggio pattern appears numerous times in all registers and is the basic musical element of the main melody, alternating with a second theme that has a slightly different melodic character. The middle section is conceived like a chorale, introduced and developed stepwise: firstly with short patterns and gradually in increasingly long snippets, until it’s played in its glorious entirety at measure 216. No real solo passages are included but rather small chambercombinations, thus offering the opportunity to various players to display their technical and performance skills. The finale recaptures musical material from the first section of the piece and provides a majestic conclusion. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band
Délais: 2-5 jours - En Stock Fournisseur | |
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| "Finale" from Symphony No. 4
Potenza Music
Tuba septet & drum set SKU: P2.90129 Composed by Peter Ilyich Tchaikovsky...(+)
Tuba septet & drum set
SKU: P2.90129
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Jim Self. Chamber music,
Contemporary. Published
by Potenza Music
(P2.90129).
Many years ago
while searching for
ancient artifacts in the
basement of an artel in
St. Petersburg, Russia I
came across a dusty,
water-stained music
manuscript. It was a work
for six tubas and
percussion--without a
title. After much
magnification, I was able
to piece together what
was the original
orchestration of
Tchaikovsky's Finale to
his famous 4th Symphony.
I could hardly believe my
eyes. Every tubist knows
that Tchaikovsky loved
the tuba and wrote great
parts for us, but to have
conceived such a
masterpiece for six tubas
and percussion was
astounding. I made it my
life's work to restore
the manuscript and record
it. Denials of its
authenticity were
everywhere but I know
Tchaik Four and this is
it--same notes, same key,
same tempi, same bass
drum part.
Great
musicians came from far
and wide--Chicago,
Cookeville,
Chatsworth--to help me
realize my dream. We
formed a group called Los
Tubas which recorded the
work and gave its live
premier in Los Angeles,
on my birthday, August
20, 1995. Los Tubas is a
group of loose tuba
players from Los Angeles
who specialize in
revivals, rehearsals,
recreations,
retrogressions and
reaching out. Our main
connection is that we all
studied with or were
influenced by Tommy
Johnson (except Tommy, of
course). Recorded by
Loren Marsteller, Ernie
Carlson, Euphoniums;
Norman Pearson, Jim Self,
Tommy Johnson, Gene
Pokorny, Tubas; John
Magnussen, Percussion;
R.Winston Morris,
Conductor; Shawn Murphy,
Engineer (on the Jim Self
Big Stretch CD). $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| T-Bone Concerto
Orchestre d'harmonie [Conducteur et Parties séparées]
Amstel Music
Complete - Score and Parts. By Johan De Meij. Amstel Concert Bands. Published by...(+)
Complete - Score and
Parts. By Johan De Meij.
Amstel Concert Bands.
Published by Amstel
Music.
$418.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Fantasia sopra motivi dell'opera La Sonnambula
Clarinette et Piano
Potenza Music
By Domenico Mirco. Arranged by Diane Barger. For Clarinet and Piano. Chamber mus...(+)
By Domenico Mirco.
Arranged by Diane Barger.
For Clarinet and Piano.
Chamber music. Published
by Potenza Music
$19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Chamber Music, Op. 24 No. 1 (with Finale 1921)
Soli, choeur mixte et accompagnement
Lucks Music Library
(1D1.0.1.1/0.1.0.0,perc,a ccord,5 solo str) SKU: TM.06501SET Composed by ...(+)
(1D1.0.1.1/0.1.0.0,perc,a
ccord,5 solo str) SKU:
TM.06501SET Composed
by Paul Hindemith. Set
Type: A. Set of parts.
Lucks Music Library
#A8289. Published by
Lucks Music Library
(TM.06501SET).
W/Finale
1921. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Chamber Music, Op. 24 No. 1 (with Finale 1921)
Soli, choeur mixte et accompagnement [Conducteur]
Lucks Music Library
(1D1.0.1.1/0.1.0.0,perc,a ccord,5 solo str) SKU: TM.06501SC Composed by P...(+)
(1D1.0.1.1/0.1.0.0,perc,a
ccord,5 solo str) SKU:
TM.06501SC Composed
by Paul Hindemith. Score.
Lucks Music Library
#A8289. Published by
Lucks Music Library
(TM.06501SC).
W/Finale
1921. $65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Woodwind Quintets, vol. I: The Joy of Woodwind Music
Flûte traversière [Partition + CD]
Music Minus One
For Flute. Classical (chamber). Includes a high-quality printed music score and ...(+)
For Flute. Classical
(chamber). Includes a
high-quality printed
music score and a compact
disc with stereo
accompaniments, minus the
soloist. Published by
Music Minus One.
(1)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Andante con Variazioni sopra un tema dell'opera I Capuleti e Montecchi
Clarinette et Piano
Potenza Music
By Girolamo Salieri. Arranged by Diane Barger. For Clarinet and Piano. Chamber m...(+)
By Girolamo Salieri.
Arranged by Diane Barger.
For Clarinet and Piano.
Chamber music. Published
by Potenza Music
$22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Never Thirst Again - Bulk CD (10-pak)
Chorale SATB
Word Music
SATB choir SKU: WD.080689752728 The Promise Of Easter. Composed by...(+)
SATB choir SKU:
WD.080689752728
The Promise Of
Easter. Composed by
Allan Douglas, Deborah
Craig-Claar, and Phillip
Keveren. Arranged by
Phillip Keveren. Choral,
cantatas. Easter,
Musical. Bulk CD
(10-pak). Word Music
#080689752728. Published
by Word Music
(WD.080689752728).
UPC:
080689752728. The
life-changing story of
Jesus' death and
resurrection is told from
the unique perspective of
the Samaritan woman at
the well as she is
transformed by the
sacrificial love of
Christ in this passionate
new work from Deborah
Craig-Claar, Allan
Douglas and Phillip
Keveren. Two actresses
portray the woman called
Anna - an older woman who
looks back at the Passion
events from a
post-resurrection
perspective, and her
younger counterpart who
encounters Jesus at the
well and joins His
followers in Jerusalem
during Passion Week. The
extraordinary score
includes songs written or
made popular by today's
most accomplished
artists, including
Michael W. Smith, Keith
Getty, Stuart Townend,
Matt Maher, and Natalie
Grant. Phillip Keveren's
breathtaking chamber
ensemble instrumentation
creates an intimate and
compelling experience. At
only 40 minutes in length
and with only two female
characters, one male
character, and purely
optional
sets/lights/costumes,
Never Thirst Again can be
offered by churches of
any size or production
capability.
Includ
es songs written or made
popular by Michael W.
Smith, Keith Getty,
Stuart Townend, Matt
Maher, Natalie Grant,
Tony Wood, Michael
Farren, Audrey Assad, and
Shelley Johnson. Chamber
ensemble instrumentation
creates an intimate and
compelling experience.
Accessible cast
requirements: two female
characters, one male
character - costumes,
props, and sets are
purely optional. Reader's
Theatre script available
at www.wordmusic.com.
Features early American
classics There Is a
Fountain and My Song in
the Night. Thoughtful
benediction, Peace Be
with You, or an exuberant
and congregational
Finale. $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Never Thirst Again - Accompaniment CD (Split)
Chorale SATB
Word Music
SATB choir SKU: WD.080689862120 The Promise Of Easter. Composed by...(+)
SATB choir SKU:
WD.080689862120
The Promise Of
Easter. Composed by
Allan Douglas, Deborah
Craig-Claar, and Phillip
Keveren. Arranged by
Phillip Keveren. Choral,
cantatas. Christmas.
Accompaniment CD (split).
Word Music #080689862120.
Published by Word Music
(WD.080689862120).
UPC:
080689862120. The
life-changing story of
Jesus' death and
resurrection is told from
the unique perspective of
the Samaritan woman at
the well as she is
transformed by the
sacrificial love of
Christ in this passionate
new work from Deborah
Craig-Claar, Allan
Douglas and Phillip
Keveren. Two actresses
portray the woman called
Anna - an older woman who
looks back at the Passion
events from a
post-resurrection
perspective, and her
younger counterpart who
encounters Jesus at the
well and joins His
followers in Jerusalem
during Passion Week. The
extraordinary score
includes songs written or
made popular by today's
most accomplished
artists, including
Michael W. Smith, Keith
Getty, Stuart Townend,
Matt Maher, and Natalie
Grant. Phillip Keveren's
breathtaking chamber
ensemble instrumentation
creates an intimate and
compelling experience. At
only 40 minutes in length
and with only two female
characters, one male
character, and purely
optional
sets/lights/costumes,
Never Thirst Again can be
offered by churches of
any size or production
capability.
Includ
es songs written or made
popular by Michael W.
Smith, Keith Getty,
Stuart Townend, Matt
Maher, Natalie Grant,
Tony Wood, Michael
Farren, Audrey Assad, and
Shelley Johnson. Chamber
ensemble instrumentation
creates an intimate and
compelling experience.
Accessible cast
requirements: two female
characters, one male
character - costumes,
props, and sets are
purely optional. Reader's
Theatre script available
at www.wordmusic.com.
Features early American
classics There Is a
Fountain and My Song in
the Night. Thoughtful
benediction, Peace Be
with You, or an exuberant
and congregational
Finale. $99.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Galloping Ghosts
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644. I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Concerto in E Major
Trompette
Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet SKU:
CF.W2682 For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major. Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key.
The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467). $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Seven Shards for Trio d'anches
Potenza Music
Oboe or flute, clarinet, bassoon SKU: P2.20007 Composed by James Grant. C...(+)
Oboe or flute, clarinet,
bassoon SKU:
P2.20007 Composed by
James Grant. Chamber
music. Published by
Potenza Music (P2.20007).
Seven Shards
for Trio d'anches (or
trio of reeds--oboe,
clarinet and bassoon) is
a rondo of four
developing refrains,
interspersed with three
episodes. The texture is
contrapuntal and the
tempo brisk throughout
(no hymnody, here), and
the brief shards are to
be played in succession
without significant
pause. They are marked:
Precision; Insistence;
Ornamental; Agreement;
Ragtime, sort of;
Baroque, sort of; and
Finale. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| String Quartet In C Major Op. 61 B 121
Quatuor à cordes: 2 violons, alto, violoncelle
G. Henle
Parts. Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. Henle Mus...(+)
Parts. Composed by
Antonin
Dvorak (1841-1904).
Edited by
Peter Jost. Henle Music
Folios. Softcover. 80
pages.
G. Henle #HN1399.
Published
by G. Henle
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Symphony No. 21 in A Major
Orchestre
Eulenburg
Orchestra SKU: HL.49010025 Study Score. Composed by Franz Joseph H...(+)
Orchestra SKU:
HL.49010025 Study
Score. Composed by
Franz Joseph Haydn.
Edited by Christa Landon.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1764. 36 pages.
Duration 18'. Eulenburg
Edition #ETP561.
Published by Eulenburg
Edition (HL.49010025).
ISBN 9790200204810.
UPC: 073999596144.
5.25x7.5x0.095
inches. With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition. $12.99 - Voir plus => Acheter | | | |
| Symphony 69 C Major
Orchestre
Eulenburg
Orchestra (Score) SKU: HL.49010050 Laudon. Composed by Franz Josep...(+)
Orchestra (Score) SKU:
HL.49010050
Laudon. Composed
by Franz Joseph Haydn.
Edited by Gwilym Beechey.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. 58 pages. Duration
25'. Eulenburg Edition
#ETP 589. Published by
Eulenburg Edition
(HL.49010050). ISBN
9790200205091.
5.25x7.5x0.167
inches. With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition. $13.99 - Voir plus => Acheter | | |
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Chamber Music #1 With Finale Op. 24/1
