PARTITIONS GRATUITES : HARPE
BAROQUE
- Fun.

Arranged by Carol Matz. For Piano. Piano Collection. Famous and Fun. Masterwork. Level: Intermediate. Book. 32 pages. Published by Alfred Publishing.

By Hector Berlioz (1803-1869). Edited by Hugh MacDonald. For SSTTBB choir ad lib, solo trombone, piccolo, flute, oboe, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 2 cornets, 3 trombones, bass trombone, 2 ophicleides, timpani, percussion, strings. This edition: Clothbound, Complete edition, Urtext edition. New Berlioz Edition, Volume 19. Marche Funebre - Oraison Funebre - Apotheose (mit Chor ad lib.). Urtext der New Berlioz Edition. Level 4. Score. Language: French, Text Language: English/French/German. Hol. 80. 110 pages. Duration 30'. Published by Baerenreiter Verlag

Heures mystiques: Entrees, Offertoires, Offertoire funebre. By Leon Boellmann. Edited by Schauerte-Maubouet, Helga. For Organ. Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import).

Score Viola, Violin, Piano, Clarinet, Cello, Flute and Percussion - Grade 5

SKU: HL.14030959

For Violin, Viola and Chamber Ensemble Score. Composed by Bent Sorensen. Music Sales America. Classical. Score. Composed 2002. 54 pages. Edition Wilhelm Hansen #WH30143. Published by Edition Wilhelm Hansen (HL.14030959).

ISBN 9788759857427. English.

Funeral Procession for Violin, Viola and Chamber Ensemble was composed in 1989 as a commission from the Sonanza Ensemble. The music is, apart from a few swarming bursts, slow and silent. Dynamic is almost stripped away, and the musicians play as faintly as possible - almost inaudibly.

Violin - very easy

SKU: HL.49007122

Geigenschule fur den Anfang. Composed by Renate Bruce-Weber. Arranged by Mark Bruce. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addresse. Classical. 96 pages. Schott Music #ED 7299. Published by Schott Music (HL.49007122).

ISBN 9783795722197. UPC: 196288077480. 9.0x12.0x0.282 inches. German.

The most important aspect of the violin method 'Die frohliche Violine' is the fun of learning to play the violin: The textbook is aimed at an early playful beginning with the instrument. Over the course of the lessons, the pupils are deliberately addressed in a language that corresponds to their age. Furthermore, the method provides a stylistically varied range of classical and folkloristic instrumental pieces, and always gives a lot of interesting information on the music and its composers.Vol. 1: Detailed introduction to the bow hold - songs and instrumental pieces, using exclusively the first type of fingering while focussing on rhythmic, melodic and technical variety - playful touching and feeling of violin-playing techniques such as pizzicato, position playing, harmonics and double stops. Vol. 1 is accompanied by a CD (T 3272) containing all songs and pieces with funny dialogues spoken by children. A motivating addition to violin lessons and a great gift idea!

Marimba

SKU: HL.14011922

Composed by Karsten Fundal. Music Sales America. Classical. Book [Softcover]. Music Sales #KP01128. Published by Music Sales (HL.14011922).

ISBN 9788759871638. English.

This work is the first of four pieces in the Mobius series.

By Herman Bellstedt. Arranged by Frank Simon. For Trumpet (Trumpet). Brass Solos and Ensembles - Trumpet And Piano/Organ. Southern Music. Variations on Luigi Denza's 'Funiculi Funicula'. Grade 5. Set of performance parts. 16 pages. Southern Music Company #SS310. Published by Southern Music Company

Bayan

SKU: HL.50600472

For Bayan Solo. Composed by Sofia Gubaidulina. Woodwind Solo. Classical. Softcover. 16 pages. Sikorski #SIK8742. Published by Sikorski (HL.50600472).

8.25x12.0x0.076 inches.

In the field of New Music, Sofia Gubaidulina's “De profundis” has already achieved the status of a classic. It is not only an attainment of the New Music that instruments are capable of approaching the human voice in their sound, or that they can imitate areas of expression found in language and linguistic articulation. But the avant-garde has surely expanded the spectrum to a considerable extent. The piece for solo bayan is an impressive example of this. The listener witnesses a slow and inexorable intensification from the “rattling” of the lowest accordion register up to the pure, tender tones of the highest register. It is “anascent from the lowest to the highest, from the breath and soul to the world's soul or wisdom”, as Gubaidulina's friend and colleague Viktor Suslin once expressed it. With the means of sound, Gubaidulina transfers a symbol of life onto the music: breathing. Breathing distinguishes the living from the dead. What other instrument, other than the winds, perhaps, could better lendexpression to this characteristic than the accordion? In contrast to the wind instruments, however, the accordion is not an instrument into which the player breathes and creates breathing sounds - instead, the instrument itself assumes this function. It breathes through the pulling apart and pressing together of the bellows. As the basis of her composition, Gubaidulina chose the lines of the Psalm 130 “From the depths, o Lord, I call to you” for the characterisation of her interlaced message. Shadowy chorale melodies are occasionally heard, but the fundamental idea of ascent remains decisive. Sharp insertions and expressive gestures, intrusive glissandi and nervous vibrati repeatedly disturb the direction of movement. And then we hear consciously the integrated breathing of the instrument - breathing slightly, hardly audible, opposing the powerful chord blocks. The musicologist Valentina Cholopova once said of this: “All these sounds confront solemn chords richly ornamented with figurations, but there is also a long, monodic melody running through the entire symbolic path of the work - from the depths all the way up to the brilliant heights.” The work is dedicated to Friedrich Lips!