| Romance in A major Op. 69 for Violoncello and Piano Violoncelle, Piano [Reduction] G. Henle
Cello and Piano. Composed by Gabriel Faure (1845-1924). Edited by Jean-Christo...(+)
Cello and Piano. Composed
by
Gabriel Faure
(1845-1924).
Edited by Jean-Christophe
Monnier. Sheet Music.
Paperbound. Henle Music
Folios. With marked and
unmarked string parts.
Classical. Score and
Parts.
14 pages. G. Henle
#HN1088.
Published by G. Henle
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| En Mode Sepia Clarinette et Piano - Intermédiaire FLEX Editions
Chamber Music & Piano Accompaniment 1 Bb Clarinet 1 Piano - Grade 3 SKU: FL.F...(+)
Chamber Music & Piano
Accompaniment 1 Bb
Clarinet 1 Piano - Grade
3 SKU: FL.FX073726
Composed by Pascal
Proust. Original
Composition. Classical,
Educational. Score and
Set of Parts. 5 (score);
2 (parts) pages. Duration
3 minutes, 25 seconds.
FLEX Editions #FX073726.
Published by FLEX
Editions (FL.FX073726).
Some obsolete
tunes coming straight out
of an old photo album,
for young
instrumentalists from 4
or 5 years of instrument
practice. - Pascal PROUST
; Instruments: 1 Bb
Clarinet 1 Piano;
Difficuly Level: Grade
3. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Titty Twister Breitkopf & Härtel
Viola and 1 other inst. SKU: BR.EB-9205 Composed by Nicolaus A. Huber. So...(+)
Viola and 1 other inst.
SKU: BR.EB-9205
Composed by Nicolaus A.
Huber. Solo instruments;
Folder. Edition
Breitkopf. World
premiere: Donaueschingen,
April 25, 2010 Music
post-1945; New music
(post-2000). Performance
score. Composed 2009. 30
pages. Duration 14'.
Breitkopf and Haertel #EB
9205. Published by
Breitkopf and Haertel
(BR.EB-9205). ISBN
9790004183632. 11 x 14
inches. On the
broadcast of the film
From Dusk Till Dawn, the
following note could be
read in Gong (German
radio and television
programme guide) on 21
May: The gangsters Seth
(George Clooney) and
Richard Gecko (Quentin
Tarantino) are on the
run. On their way to
Mexico, they take the
apostate preacher Fuller
and his children hostage.
On their journey, they
end up in Titty Twister
Bar, not suspecting that
it is peopled by
vampires. Well, after
deducting some film junk,
some typical elements
remain: what is past and
over, constant new
dramatic pair
constellations, what is
dead and constantly
reawakening, the
transformations, the
troubles and
destructions, the final
annihilation teeming with
destruction etc.
Basically, it is a myth
of ruin, in whose
structure the elements
are interchangeable. It
could also be told with a
coherent material
concept, in a
historically obsolete
manner, in an
old-fashioned way, with
non-compensation, with
flaring abolition yes,
does everything always
work??? It is good that
it only takes place in a
bar and that the bar
invites us into Titty
Twister in attractive
neon writing. Restless
nature and beauty are at
home in the bar today.
That facilitates for us
the effortlessness of
having fun in life. And
today there is a special
programme my piece Titty
Twister for Accordion,
Viola, Nepalese Singing
Bowl, Pinballs and Mini
Dramolettes. Its all
expression, isnt it???
Nicolaus A. Huber (2009)
CD: Anton Hubert (viola),
Wolfgang Dimetrik
(accordeon) CD Gramola
98922 Bibliography :
Kampe , Gordon: Erinnern
und Vergessen.
Wechselwirkungen in der
Kammermusik Nicolaus A.
Hubers, in: Programmbuch
,,Wittener Tage fur neue
Kammermusik 2017, S.
42-47, auch abgedruckt
in: MusikTexte, Heft 154
(August 2017), pp.
37-39.
World
premiere: Donaueschingen,
April 25, 2010. $60.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Etüden für Oboe Hautbois EMB (Editio Musica Budapest)
Oboe SKU: BT.EMBZ12002 By Peter Pongracz. By Joseph Sellner. EMB Music Le...(+)
Oboe SKU:
BT.EMBZ12002 By Peter
Pongracz. By Joseph
Sellner. EMB Music Lesson
- Exercises, Studies.
Studies & Exercises. Book
Only. Composed 1981. 36
pages. Editio Musica
Budapest #EMBZ12002.
Published by Editio
Musica Budapest
(BT.EMBZ12002).
English-German-Hungari
an. 'Joseph Sellner
(1787-1843) was a famous
oboe player of his time.
In 1825, Sellner
published an oboe tutor
in three volumes entitled
Theoretisch-Praktische
Oboen-Schule. Despite the
fact that the instrument
has undergone
considerable changes and
improvements since his
time, the majority of
Sellner's work has still
retained its usefulness
to this day. His studies
provide valuable help for
achieving smooth
technique and
tone-colour, especially
at the beginner level.
The obsolete two-part
exercises and interval
studies written for the
instrument of his time
have been omitted in this
volume. The studies have
been arranged here, as
opposed to the original
sequence, accordingto the
order of key signatures.'
- Péter Pongrácz
Joseph Sellner
(1787-1843) war ein
berühmter Oboist
seiner Zeit und Autor der
Theoretisch-Praktischen
Oboen-Schule. Obwohl sich
das Instrument seither
verändert hat, ist der
Großteil von Sellners
Werk heute noch sehr
wertvoll - besonders
für Anfänger auf
der Oboe. Die Etüden
in dieser Ausgabe wurden
anders als im Original
nach Tonarten geordnet.
Joseph Sellner
(1787-1843) était un
célèbre hautbo ste
allemand, auteur de la
méthode
Theoretisch-Praktischen
Oboen-Schule (Méthode
théorique et pratique
pour hautbois. Bien que
le hautbois ait
évolué depuis, la
majorité des pièces
et études composées
par Sellner restent un
élément précieux
complémentaire toute
méthode
d'apprentissage du
hautbois. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata for Piano in A major K. 331 (300i) (with the Rondo "Alla Turca") Piano seul - Intermédiaire Barenreiter
Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Mario Aschauer. Thi...(+)
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Edited by
Mario Aschauer. This
edition:
urtext edition. Stapled.
Barenreiter Urtext. With
the
Rondo "Alla Turca".
Performance score. KV 331
(300i). Baerenreiter
Verlag
#BA11816. Published by
Baerenreiter Verlag
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Das Wundertheater Chorale, Orchestre [Conducteur d'étude / Miniature] Schott
(Opera on an Intermezzo of Miguel de Cervantes). Composed by Hans Werner Henze (...(+)
(Opera on an Intermezzo
of Miguel de Cervantes).
Composed by Hans Werner
Henze (1926-). Study
Score. Schott. Study
Score. Schott Music
#ED9519. Published by
Schott Music
$64.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet
SKU: CF.O88X
Composed by Narcisse
Bousquet. Edited by Joey
Tartell Edwin Franko
Goldman. SWS. Softcover.
With Standard notation.
44 pages. Carl Fischer
Music #O88X. Published by
Carl Fischer Music
(CF.O88X). ISBN
9781491153406. UPC:
680160910908. 9 X 12
inches. These
studies are a staple of
the advanced trumpet
method repertoire. Each
etude is an exploration
of a wide variety of
registers, articulations
and tonalities. While
going through these 36
etudes the trumpeter will
develop an even sound in
all registers while
tackling the musical and
melodic challenges that
lie
within. IntroductionTi
ps on Musical
PracticeStarting a new
study can be
overwhelming. Using Etude
No. 1, here’s an
example of how to
approach working on these
etudes with both
musicality and technique
in mind.Bousquet’s
first study can be broken
down into three large
musical sections:Section
1: from the beginning to
the downbeat of m.
26.Section 2: from the
upbeat of 2 in m. 26 to
the downbeat of m.
51.Section 3: from the
downbeat of m. 51 to the
end.Each one of those
sections can be broken
down into two smaller
sections:Section 1a: from
the beginning to the
downbeat of m. 16.Section
1b: from the downbeat of
m. 16 to the downbeat of
m. 26.Section 2a: from
the upbeat of 2 in m. 26
to the end of m.
35.Section 2b: from m. 36
to the downbeat of m.
51.Section 3a: from the
downbeat of m. 51 to the
downbeat of m. 59.Section
3b: from the downbeat of
m. 59 to the end.To get
started playing, choose a
slow tempo that allows
you to play Section 1 all
the way through without
stopping. If that is
problematic, just play
through 1a.Remember to
focus on the music.
Section 1a is light,
moving in four-measure
phrases to the ninth
measure, where it
cadences in G. From
there, retain the
lightness through the
arpeggiation that
concludes with the trill
that brings an arrival
point at Section 1b. Here
the style changes
completely, alternating
two measures of fluid,
connected sixteenth notes
with two measures of
scalar staccato
sixteenths before finally
cadencing on the downbeat
of m. 26.Section 2 begins
with a melodic line of
eighth notes, punctuated
by sixteenths in the
third full measure before
returning to the original
line for only a measure
before driving forward
with a flourish to finish
Section 2a. Section 2b
starts back in C with
four-measure phrases in
which the line moves up
for two measures, then
down for two measures,
ending in G. The last
seven measures of Section
2 stay light as they work
their way back to
C.Section 3 is very
exciting, starting with a
fiery cornet solo-like
passage in 3a. 3b brings
the piece to a dramatic
conclusion outlining C
major for the first four
measures before
arpeggiating C major and
G dominant for two
measures, finally
finishing with the
C-major scale.The next
step is to isolate any of
the parts that proved
troublesome. Examples
could include missed
notes or figuring out
where to breathe. Once
you have practiced the
troublesome sections in
isolation, play the
section all the way
through without stopping
again. Even if there are
still problems, you are
now practicing in a way
that is preparing you to
perform musically.The
next day, play through
Section 1 again, at a
tempo that allows you to
do this without stopping.
Now go on to Section 2,
and follow the same three
steps:Play all the way
through, at a tempo that
allows you to do so
without stopping,Isolate
and practice the
troublesome passages,
thenPlay all the way
through, at a tempo that
allows you to do so
without stopping.Now play
from the beginning to the
end of Section 2.The next
day, play Section 1. Now
play Section 2. Then play
Section 3 and apply the
same three steps outlined
above.Now play the whole
study. At this point you
have spent time on each
section, making musical
decisions and correcting
mistakes. Increase the
tempo as you gain
confidence and control of
the material. As you work
towards performing the
entire study as a piece
of music, record yourself
playing the entire study
as a performance each
day. Review the
recordings to reveal what
still needs work. Be
honest with yourself!
When you are happy with
the recording of your
performance, it’s
time to move on to the
next study.About the
Goldman PrefaceThese
studies will be an
excellent practice,
especially for the lower
register of the Cornet,
which is somewhat
neglected in other
instruction books. It is
recommended that the
pupil should practice one
of this series of Studies
now and then to repose
his lips, and acquire
facility in difficult
fingering.— Edwin
Franko GoldmanIn his
original preface, Edwin
Franko Goldman is
absolutely correct that
these studies are
excellent practice and
will help with the
dexterity demanded of
today’s player.
Although the low register
is certainly explored
throughout the book, it
does not appear to be the
focus of these studies.
There are many books
available now that
concentrate on the low
register. The suggested
fingerings have been
removed. Using alternate
fingerings was more
common to cornet players
to aid in the fluidity of
a passage. This practice
is not nearly as common
today, especially with
trumpet players, as the
difference in timbre
caused by the alternate
fingerings is disruptive
to the musical line.
Published for cornet, as
it was the solo
instrument of choice in
the 1920s, these etudes
are just as useful to
today’s trumpet
player. When playing
these studies on trumpet,
the performer should
strive for a fluid line
while maintaining a full
and clear sound. Because
of the musicianship and
technique demanded, this
book remains as useful
today as it has ever
been.— Joey
TartellAbout Narcisse
Bousquet and the 36
EtudesNarcisse Bousquet
(c. 1800–1869) was
French by birth, active
as a composer, editor and
arranger in both France
and England in the early
nineteenth century.
Bousquet was respected as
an accomplished performer
of the French flageolet,
a high-pitched woodwind
instrument much like a
recorder, although later
outfitted with the Boehm
key system like the
modern flute. Although
obsolete in modern times,
the instrument once
enjoyed great popularity
with a variety of
composers and performers,
both amateur and
professional. Purcell and
Handel composed for the
instrument, and Berlioz
was purportedly an
accomplished amateur
performer of the
flageolet. The Scottish
author Robert Louis
Stevenson, likewise, was
a proficient performer of
the instrument and
composed a number of
pieces for it.Little is
known today of
Bousquet’s life.
He composed a large
variety of music,
including works
specifically for the
flageolet, which were
widely appreciated in
their day. The 36 Etudes
for flageolet are
undoubtedly the most well
known of his works.
Published in 1851, the
Etudes explore a variety
of techniques, such as
scales, arpeggios,
ornamentation, breath
control and expressive
playing, and their
technically demanding
writing confirms
Bousquet’s prowess
as a flageolet performer.
However, the date of the
arrangement of the etudes
for cornet and their
arranger remain
speculative. Edwin Franko
Goldman is credited as
the arranger of the 1890
publication by Carl
Fischer, although Goldman
would have been only
twelve years old at the
time; his work on these
pieces surely came at a
later time. Bousquet
himself may have arranged
these pieces for cornet
at the request of an
accomplished cornet
player at some point
after their
publication. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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