Selected Piano Works In 4 Parts. Ballads, Op. 10. Variations, Op. 21, 24

23 Selections Featuring Student Parts in 5-Finger Position-This valuable assortment of teacher-student duets in their original form written by teacher-composers during the 18th 19th and early 20th centuries is a sequel to the Easy Classical Piano Duets for Teacher and Student series. The student parts are limited to a single five-finger position and fall primarily within the grand staff reading range. Book 1 contains works by Berens Foote Gurlitt Löw Sartorio and Wohlfahrt.

16 Selections Featuring Student Parts in 5-Finger Position-This valuable assortment of teacher-student duets in their original form written by teacher-composers during the 18th 19th and early 20th centuries is a sequel to the Easy Classical Piano Duets for Teacher and Student series. The student parts are limited to a single five-finger position and fall primarily within the grand staff reading range. Book 2 contains works by Berens Cui Foote Godowsky Grimaldi Reinecke and Sartorio.

Part of the Belwin Master Solos series and prepared under the direction of Keith Snell, each of these folios contains a collection of graded solos that should prove to be a useful source for both student and teacher. Each folio contains works from the Renaissance, Baroque, and Classical periods, folk songs and traditional tunes, and a section of original compositions. For the student, these solos will provide material with specific challenges in rhythm, range, and key signatures in music that is both instructive and enjoyable to perform. Each solo has been selected and arranged to challenge the student in different areas of technique and musicianship while providing exposure to a variety of musical styles that are enjoyable to perform. In addition, special attention has been given to creating accompaniments that are easy to play yet at the same time add interest to the solo parts. Available in easy, intermediate, and advanced levels as are the Belwin Master Duets. Contains: Aria (Handel) * Ballad (Snell) * Chant Russe (Lalo) * Dances for Trombone (Snell) * Golliwogg's Cakewalk (Debussy).

Concert Pieces for Viola and Piano-Viola part & enclosed Piano accompaniment.14 recital pieces presented in increasing order of difficulty.Wide range of styles included.To complement the Sassmannshaus Early Start on the Viola method Bärenreiter offer a selection of recital pieces tailored to this educational concept. This edition presents 14 pieces covering a wide stylistic spectrum giving Viola players a rich body of appealing concert pieces to choose from.The works are arranged in increasing order of difficulty the cornerstones being two works by Georg Eduard Goltermann; his technically simple Andante religioso and his demanding Adagio and Tarantella. Works by Kalliwoda Fauré Grieg Dvo ák amongst others are included.The editor:Kurt Sassmannshaus is a violinist and Viola player a professor of Violin in Cincinnati (OH) and a promoter of Violin teaching with projects in Germany China and the United States. He continues the work of his father Egon Sassmannshaus who set new standards with the Sassmannshaus string methods.

Published in 1648, Heinrich Schütz's 'Geistliche Chor-Music? is still regarded as one of his seminal works.A two-volume performance edition based on Werner Breig's revised new text was published in 2012 and 2013 (BA 5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout, retain the original keys and include an integrated figured bass realisation.In keeping with contemporary performance practice, the 'choral' parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments (see performance material for BA 5901 and BA 5902). / Choeur Mixte

Ten classical themes by the greatest composers have been arranged for a young Recorder ensemble. A selection of melodies by Mozart Boccerini Weber Beethoven and more are presented here in full score for four descant Recorders with Piano accompaniment. The four parts vary in difficulty to suit a mixed-ability classroom group. An audio CD provides exemplary quality backing tracks and example performances for use in rehearsal or in concert. Furthermore a CD-ROM is also provided which is packed with parts for other Recorders including 3 parts for treble/sopranino 3 parts for tenor and bass parts for any C instrument.The selection ofworks will give young students vital first-time experience of Classical music-playing and the pack contains everything you need for even the most unusual combination of instruments and abilities.

Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.