Symphony No. 5 in Bb, K.22

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

Bärenreiter Urtext Paperback-Dvo ák's Symphony No. 7 In D Minor Op.70. Foreword by Dvo ák scholar Smaczny (Cz/Eng/Ger)Dvo ák?s Seventh Symphony was commissioned by the Royal Philharmonic Society in August 1883 and premiered in London on 22 April 1885 conducted by the composer himself. Two months later Dvo ák shortened the second movement by about 40 bars. The work was published by Simrock in this form in 1885.In 2013 Bärenreiter published the score and orchestral parts in a first scholarly-critical edition of Dvo ák?s Seventh Symphony (BA 10417). It is now being issued as a study score. The editor Jonathan Del Mar hasalready won international acclaim for his editions of the Dvo ák Cello Concerto (BA 9045) as well as of works by Beethoven and Elgar. He has taken every source into account including the extant correspondence.Like the score and parts this study score presents the original version of the second movement in the appendix. A new foreword has been added by Dvo ák scholar Jan Smaczny.

Together We Sing Series-Goin' home goin' home. I'm a-goin' home. Quiet-like some still day I'm just goin' home are the poignant lyrics famously set in a song based on the Czech composer Antonin Dvorak's famous Largo theme from his Symphony No. 9 (From the New World) Op. 95. This choral work is simple yet rich with vocal harmonies moving piano accompaniment and optional cello creating an emotional performance selection filled with musical opportunities.

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Linz Symphony-Mozart composed the Symphony In C Major K.425 known as the ?Linz Symphony? within a few days in October/early November 1783 in the palace of Count Johann Joseph Anton von Thun-Hohenstein (1711 1798) in Linz where together with Constanze he stayed for three weeks on the way back from a trip to Salzburg. ?On Tuesday the fourth of November? wrote Mozart to his father on 31 October (the day after his arrival in Linz) ?I will be giving a concert in the theatre and since I have no symphony with me I am writing one as fast as I can for it must be ready by then?. Accordingly this work was performed for the first time in the theater inLinz on 4 November 1783.Urtext of the New Mozart EditionFull score and parts (BA4704) and study score format 22.5 x 16.5cm (TP16) available for sale

Study Score format 22.5cm x 16.5cm. The Symphony No.26 In E-Flat K.184 (166a) was probably written in Salzburg in March 1773. Scored for Flute (2) Oboe (2) Bassoon (2) Horn (2) Trumpet (2) Strings. Available for sale full score & performance material (BA4744) and study score (TP72). The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding aswell as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices.

Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)

Dvorák?s Symphony No. 7 was commissioned by the ?Royal Philharmonic Society? in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák?s cello concerto in B minor (BA 9045) not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendix as well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains the original London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)

Collection de 45 ?uvres de W.A.Mozart des symphonies aux concertos, en passant par les opéras et ?uvres pour piano. Partitions pour piano solo de niveau internmédiaire à avancé. / Classique / Partition /

Le compositeur tchèque romantique Antonin Dvorak (1841-1904) est probablement connu du grand public grâce à sa symphonie n°9 intitulée ?Le Nouveau Monde?. Mais outre ces 9 symphonies Dvorak a composé de nombreuses musiques de chambre des ?uvres vocales ainsi que des ?uvres pour piano solo. Parmi les trois ouvertures qu?il a écrites l?arrangeur Jan Rypens a choisi celle-ci. Défi musical issu du répertoire romantique cette ?uvre donne une note pleine de style à vos ouvertures.

58 Pièces faciles pour guitare. Par . This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music. All pieces have been recorded and are available for download to make it easier for the pupils to study and master the works. / Date parution : 2023-03-20/ Recueil / Guitare Classique

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale