| Original Piano Marches Piano seul [Conducteur] - Facile Lemoine, Henry
Piano - Level 2 SKU: LM.27752 Composed by Michel Le Coz. Original piano. ...(+)
Piano - Level 2 SKU:
LM.27752 Composed by
Michel Le Coz. Original
piano. Pop, jazz. Score.
Editions Henry Lemoine
#27752. Published by
Editions Henry Lemoine
(LM.27752). ISBN
9790230977524. Vien
ne reste Vienne - Marche
de Radetzky - The
Washington Post - Colonel
Bogey (Le Pont de la
riviere Kwai) - Marche
des trompettes (Aida) -
Entree des gladiateurs -
Marche militaire (opus 51
No. 1 de Schubert) -
Chant du toreador
(Carmen). $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Historische Regiments-Marsche aus Osterreich / Historical Austrian Military Marches Piano seul Doblinger
(u.a. J. Haydn: Marche von dem K. K. Infanterie-Regiment Colloredo Hob. VIII:D1S...(+)
(u.a. J. Haydn: Marche
von dem K. K.
Infanterie-Regiment
Colloredo Hob. VIII:D1SS
Anonym: Marche von dem
K.K. Infanterie Regiment
Teutschmeister)
$25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Marche Militaire Op. 51 No. 1 Piano seul Digital Music Print (+)
| | |
| More Classical Highlights Quatuor à cordes: 2 violons, alto, violoncelle De Haske Publications
String Quartet or String Orchestra - easy SKU: BT.DHP-1135315-070 Arrange...(+)
String Quartet or String
Orchestra - easy SKU:
BT.DHP-1135315-070
Arranged by Nico Dezaire.
De Haske String Orchestra
Series. Set (Score and
Parts). De Haske
Publications #DHP
1135315-070. Published by
De Haske Publications
(BT.DHP-1135315-070).
ISBN 9789043146814.
9x12 inches.
English-German-French-Dut
ch. More
Classical Highlights
is the follow-up to
Classical
Highlights, a
collection featuring
arrangements of classical
themes dating from the
17th century up to
the19th century. The
parts are quite easy and
attractively written, but
the arrangements stay as
faithful as possible to
the original works.
Baroque music is
represented with two
highlights: the
well-known Canon
by Pachelbel may well be
the most performed 17th
century composition. The
power of the piece lies
in a bass line of only
eight notes, above which
the melodic line of the
round itself develops.
Réjouissance
from Music for the
Royal Fireworks is a
very joyful composition
bythe Anglo-German
baroque composer Handel.
The 18th century
classical style gives us
the refined minuet
by Boccherini, the
Italian composer who
wrote a wealth of chamber
music. The 19th century
features in three famous
works: the lively
Marche Militaire No
1 by the Austrian
composer Schubert
originates from 3
Marches Militaires
for four-handed piano.
The Can Can from
Orphée aux
enfers (Orpheus in
the Underworld) is the
best-known separately
performed piece by the
operetta composer
Offenbach. Following this
exciting dance music
there is the beautiful,
lofty Largo theme
from the second movement
of Czech composer
Dvorákâ??s From
the New World
Symphony. In short: Six
varying arrangements -
challenging and very
suitable for
performances!
More Classical
Highlights is het
vervolg op Classical
Highlights, een
verzameling arrangementen
van klassieke thema´s
die dateren uit de
periode van de 17e eeuw
tot en met de 19e eeuw.
De partijen zijn
eenvoudig en
aantrekkelijk geschreven;
tegelijkertijd blijven de
arrangementen dicht bij
het origineel. De
barokmuziek is
vertegenwoordigd met twee
highlights. De bekende
Canon van
Pachelbel is wellicht de
meest gespeelde
17e-eeuwse compositie. De
kracht ervan ligt in een
baslijn van slechts acht
noten waarboven zich het
lijnenspel van de canon
ontspint.
Réjouissance
uit Music for the
Royal Fireworks is
een zeer opgewekte
compositie van
deDuits-Engelse
barokcomponist Händel.
De 18e-eeuwse klassieke
stijl horen we terug in
het verfijnde
menuet van
Boccherini, een
Italiaanse componist die
een schat aan kamermuziek
schreef. De 19e eeuw komt
naar voren in drie
beroemde stukken. De
uitbundige Marche
militaire nr. 1 van
de Oostenrijkse componist
Schubert komt uit 3
Marches militaires
voor vierhandig piano. De
Can Can uit
Orphée aux
enfers (Orpheus in de
onderwereld) is het
beroemdste afzonderlijk
uitgevoerde stuk van de
operettecomponist
Offenbach. Na deze
opzwepende dansmuziek
volgt het prachtige,
gedragen thema uit het
tweede deel van de
symfonie Uit de nieuwe
wereld met de titel
Largo, van de hand
van de Tsjechische
componist Dvorák.
Kortom: zes zeer
afwisselende
arrangementen, uitdagend
en uitermate geschikt
voor uitvoeringen!
More Classical
Highlights ist die
Fortsetzung von
Classical
Highlights, einer
Sammlung von Arrangements
klassischer Themen aus
der Zeit vom 17. bis zum
19. Jahrhundert. Die
Stimmen sind recht
einfach gehalten und
reizvoll ausgearbeitet;
zugleich sind die
Arrangements nah an den
Originalstu cken. Der
Barock ist mit zwei
musikalischen
Höhepunkten vertreten:
Der bekannte Canon
von Pachelbel ist
vielleicht die meist
gespielte Komposition aus
dem 17. Jahrhundert. Die
Kraft dieses Stu ckes
liegt in einer Basslinie
aus nur acht Noten, u ber
der sich das eigentliche
Gefu ge des Kanons
entwickelt.
Réjouissance
aus der
Feuerwerksmusik
ist einesehr fröhliche
Komposition des
deutsch-englischen
Barockkomponisten
Händel. Ein Kleinod
der Klassik aus dem 18.
Jahrhundert ist das
raffinierte
Menuett von
Boccherini, einem
italienischen
Komponisten, der einen
groÃ?en Schatz an
Kammermusik schrieb. Das
19. Jahrhundert ist mit
drei beru hmten Werken
vertreten: Der lebhafte
Marche militaire No.
1 des Ã?sterreichers
Schubert stammt aus 3
Marches militaires fu
r Klavier zu vier
Händen. Der
Can-Can aus
Orphée aux
enfers (Orpheus in
der Unterwelt) ist das
beru hmteste separat
aufgefu hrte Stu ck des
Operettenkomponisten
Offenbach. Nach dieser
mitreiÃ?enden Tanzmusik
folgt ein schönes,
erhabenes Thema aus dem
zweiten Satz der
Sinfonie Aus der Neuen
Welt mit dem Titel
Largo aus der
Feder des tschechischen
Komponisten Dvorák.
More Classical
Highlights, qui fait
suite au recueil
Classical
Highlights, rassemble
une collection
dâ??arrangements de
thèmes classiques
couvrant une période
de trois siècles, du
XVIIe au XIXe siècle.
Les diverses parties
instrumentales sont
faciles et agréables
jouer, mais les
arrangements restent
néanmoins fidèles
aux compositions
originales. La musique
baroque est
représentée par
deux oeuvres toujours
appréciées. Parmi
toutes les compositions
du XVIIe siècle, le
célèbre
Canon de Pachelbel
est peut-être celle
que lâ??on entend le
plus souvent. Sa
puissance réside dans
une simple ligne de basse
de huit notes par-dessus
laquelle se développe
le motif ducanon
lui-même.
Réjouissance,
tirée de Music for
the Royal Fireworks,
est une pièce très
enjouée du compositeur
baroque anglo-allemand
Haendel. Le style
classique du XVIIIe
siècle est inclus sous
la forme dâ??un
élégant
menuet de
Boccherini, un
compositeur italien qui a
écrit une quantité
de musique de chambre. Le
XIXe siècle est
évoqué par trois
oeuvres célèbres.
La dynamique Marche
militaire n° 1, du
compositeur autrichien
Schubert, extrait des
Trois marches
militaires pour piano
quatre mains. Le
Cancan
dâ??Orphée aux
enfers est la plus
connue des oeuvres
dâ??Offenbach,
célèbre pour ses
opérettes. Cette danse
endiablée est suivie
du Largo,
admirable thème du
deuxième mouvement de
la Symphonie du
Nouveau Monde, du
compositeur tchèque
Dvorák. En
résumé : six
arrangements variés,
stimulants et parfaits
pour être
interprétés en
concert ! $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Marche fatale Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU:
BR.EB-9253 Composed
by Helmut Lachenmann.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253). ISBN
9790004185537. 9 x 12
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marche fatale Orchestre [Conducteur] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU:
BR.PB-5432 Composed
by Helmut Lachenmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432). ISBN
9790004212790. 10 x 12.5
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $63.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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