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Sämtliche Sonaten Für Violoncello Und Basso Continuo (VIVALDI ANTONIO)
47.30
Sämtliche Sonaten Für Violoncello Und Basso Continuo (VIVALDI ANTONIO)
Violoncelle, Basse continue
[Conducteur et Parties séparées]
Barenreiter
Performance Score and Parts. Par VIVALDI ANTONIO. This scholarly-critical editio...
(+)
Performance Score and Parts. Par VIVALDI ANTONIO. This scholarly-critical edition is based on all the known sources, whether printed or handwritten, that have come down to us for these frequently played pieces. By closely scrutinizing the source material, the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc’s 1740 print of Sonatas I to VI – an edition probably made without the composer’s consent – the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi’s direct supervision. The editor has also managed to identify a previously unknown source for Sonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading, including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment, with a section on performance practice offering valuable suggestions on interpretation. This scholarly-critical edition is based on all the known sources, whether printed or handwritten, that have come down to us for these frequently played pieces. By closely scrutinizing the source material, the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc's 1740 print of Sonatas I to VI & an edition probably made without the composer's consent & the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi's direct supervision. The editor has also managed to identify a previously unknown source forSonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading, including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment, with a section on performance practice offering valuable suggestions on interpretation. All of Antonio Vivaldi's works for violoncello and continuo in a single edition Scholarly-critical edition for performance purposes Detailed preface on sources and performance practice (German/English) With new findings that considerably differ from earlier editions 'This edition is invaluable for all performers of the Sonatas . ' (Ensemble January 2004) 'This is certainly the definitive edition of these works. '(Strings August/September 2003) / Répertoire d'Examen / Répertoire / Violoncelle et Basse Continue
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40 Melodious And Progressive Studies Op. 31 Band 1
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Violoncelle
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This collection of etudes by the virtuoso Sebastian Lee was used as a standard w...
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This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added. / Violoncelle
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Fugue n A Major, from Prelude and Fugue, BWV 896
Fugue in A Minor, BWV 897 (doubtful)
Prelude and Fughetta in D Minor, BWV 899 (doubtful)
Prelude and Fughetta in E Minor, BWV 900
Fantasia and Fugue in D Minor, BWV 905 (doubtful)
Fantasia and Fughetta in B-flat Major, BWV 907 (doubtful)
Fantasia and Fughetta in D Major, BWV 908 (doubtful)
Concerto and Fugue in C Minor, BWV 909 (doubtful)
Fantasia in G Minor, BWV 920 (doubtful)
Fantasisa in C Minor, BWV Anh. 86 (incomplete)
Prelude (Fantasia) in C Minor, BWV 921 (doubtful)
Prelude in B Minor, BWV 923 (doubtful)
Seven Little Preludes, BWV 924-930 (from the Clarvier-Büchlein vor Wilhelm Friedemann Bach)
Six Little Preludes, BWV 933-938
Five Preludes, BWV 939-943
Fugue in A Minor, BWV 944
Fugue in A Major, BWV 949 (doubtful)
Fugue in B Minor on a Theme by Albinoni, BWV 951
Fugue in C Major, BWV 952 (doubtful)
Fugue in C Major, BWV 953 (from the Clavier-Büchelein vor Wilhelm Friedemann Bach)
Fugue in B-flat Major, BWV 954 (arr. from J. A. Reincken's Hortus musicus)
Fugue in B-flat Major, BWV 955 (arr.of an organ fugue by J. C. Erselius)
Fugue in E Minor, BWV 956 (doubtful)
Fugue in G Major, BWV 957 (doubtful)
Fugue in A Minor, BWV 958
Fugue in A Minor, BWV 959
Fughetta in C Minor, BWV 961 (doubtful)
Prelude, Fugue and Allegro in E-flat Major, BWV 998 (for lute or keyboard)
Suite in A Minor, BWV 818
Suite in E-flat Major, BWV 819
Ouverture in F Major, BWV 820
Suite in B-flat Major, BWV 821
Suite in F Minor, BWV 823 (incomplete)
Partie in A Major, BWV 832
Partita in C Minor, BWV 997 (for lute or keyboard)
Partita in E Major, BWV 1006a (for lute or keyboard. arr. Of Violin Partita No. 3, BWV 1006)
Sonata in D Major, BWV 963
Sonata in D Minor, BWV 964 (arr. Of Violin Sonata No. 2, BWV 1003. doubtful)
Sonata in A Minor, BWV 965 (arr. from Reincken's Hortus musicus)
Sonata in C Major, BWV 966 (arr. from Violin Reinchken's Hortus musicus)
Adagio in G Major, BWV 968 (arr. from Violin Sonata No. 3, BWV 1005. doubtful)
Three Minuets, BWV 841-843 (from the Clavier-Büchlein vor Wilhelm Friedemann Bach)
Aria variata alla maniera italiana [Air varied in the Italian manner], BWV 989
Capriccio sopra la lontananza del suo fratello dilettissimo [Capriccio on the departure of his most beloved brother], BWV
Capriccio in E Major, BWV 993
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Sonata For Pianoforte In E Major Op. 109 (BEETHOVEN LUDWIG VAN)
13.30
Sonata For Pianoforte In E Major Op. 109 (BEETHOVEN LUDWIG VAN)
Piano seul
-
Intermédiaire/avancé
Barenreiter
Par BEETHOVEN LUDWIG VAN. Beethoven’s final three piano sonatas have always be...
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Par BEETHOVEN LUDWIG VAN. Beethoven’s final three piano sonatas have always been a source of great fascination. Composed in 1820, the Sonata op. 109 opened the door to the future with its extreme expressivity, its abandonment of traditional techniques and its radical departure from familiar aesthetic norms. Beethoven specialist Jonathan Del Mar has competently solved the questions raised by the highly complex source material of this work headed “Sonata for the Hammerklavier” in the autograph score. The result is a reliable musical text and a Critical Commentary explaining alternative readings and editorial decisions. In addition to a reader-friendly engraving and practical page-turns, the edition is roundedoff with an informative Introduction and valuable notes on historical performance practice. Beethoven’s final three piano sonatas have always been a source of great fascination. Composed in 1820, the Sonata op. 109 opened the door to the future with its extreme expressivity, its abandonment of traditional techniques and its radical departure from familiar aesthetic norms. Beethoven specialist Jonathan Del Mar has competently solved the questions raised by the highly complex source material of this work headed “Sonata for the Hammerklavier” in the autograph score. The result is a reliable musical text and a Critical Commentary explaining alternative readings and editorial decisions. In addition to a reader-friendly engraving and practicalpage-turns, the edition is rounded off with an informative Introduction and valuable notes on historical performance practice. / Niveau : 6 / Répertoire / Piano
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Das Lebewohl
12.10
Das Lebewohl
Piano seul
Alfred Publishing
The three movements of Op. 81a are entitled 'The Departure,' 'The Absence,' and ...
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The three movements of Op. 81a are entitled 'The Departure,' 'The Absence,' and 'The Return,' dedicated to the Archduke Rudolf, an excellent pianist, friend, and patron of the composer. Rudolf's departure was part of an evacuation plan for Viennese aristocracy to escape the imminent occupation of Vienna by Napoleon's armies. An autograph of the first movement believed to have been presented to the Archduke Rudolf in 1809 is in the collection of the Gesellschaft der Musikfreunde in Vienna. Dr. Stewart Gordon's editions of Beethoven's most popular piano sonatas provide the key to a stylistic performance. Thorough research of the earliest available sources has enabled Dr. Gordon to produce the most accurate reflection of the composer's intent. Each sonata contains helpful fingering suggestions and performance recommendations. / Piano
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Vision - City Of Hope (MINTZER BOB)
79.90
Vision - City Of Hope (MINTZER BOB)
Big band
Advance Music
from Departure. Par MINTZER BOB. From Departure/ Répertoire / Big Band
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Travels
31.50
Travels
Ukulele
[Partition]
-
Intermédiaire/avancé
Hal Leonard
Transcriptions for all 17 tracks from the ukulele wonder's album of original pie...
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Transcriptions for all 17 tracks from the ukulele wonder's album of original pieces and island tunes from his native Hawaii: Departure Suite - Part I - Departure Suite - Parts II and III - Dinner and a Movie - Everything Is Better with You - Haven't We Been Here Before? - Hi'ilawe - I'll Be There - Ichigo Ichie - Interlude 1 - Interlude 2 - Kawika - Low Rider - Oama - Passport - Red-Eye - Train Ride - Travels. / Ukulélé
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Franz Joseph Haydn: Agnus Dei: Music of Inner Harmony: SATB: Vocal Score
8.75
Franz Joseph Haydn: Agnus Dei: Music of Inner Harmony: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Hal Leonard
from Kleine Orgelmesse-Franz Joseph Haydn's Little Organ Mass is a departure fro...
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from Kleine Orgelmesse-Franz Joseph Haydn's Little Organ Mass is a departure from the larger more fully orchestrated works of the 18th century. Written to be performed in a small chapel this meditative setting is appropriate for school or churchuse.Available separately: SATB. Performance Time: Approx. 2:45.
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Per Nørgård: Clubs Among Jokers Tales Of A Hand Suite No.3: Guitar:
18.99
Per Nørgård: Clubs Among Jokers Tales Of A Hand Suite No.3: Guitar:
Guitare
[Partition]
-
Avancé
Wilhelm Hansen
Clubs Among Jokers is the third of four suites for solo Guitar collectively enti...
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Clubs Among Jokers is the third of four suites for solo Guitar collectively entitled Tales From A Hand each of which takes its point of departure from one of the four suits of playing cards.
18.99 GBP - vendu par Musicroom GB
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Preben Fahnoe: The Nordic Bass: Bass Guitar: Instrumental Album
38.50
Preben Fahnoe: The Nordic Bass: Bass Guitar: Instrumental Album
Wilhelm Hansen
The Nordic Bass introduces melodic playing on the electric bass. It is not a beg...
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The Nordic Bass introduces melodic playing on the electric bass. It is not a beginner’s book and it is advised that you have some playing experience since the book takes its point of departure in part-playing without accompaniment by other instruments.The opening chapters deal with chord playing as well as various playing techniques such as touch tapping and harmonics. The melodic material is based on songs from the Nordic folk music tradition.A CD is enclosed which enables you to hear the arrangements as they are intended to sound.
38.50 GBP - vendu par Musicroom GB
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John Williams: The Book Thief: Piano: Instrumental Album
15.99
John Williams: The Book Thief: Piano: Instrumental Album
Piano seul
Hal Leonard
Music from the Motion Picture Soundtrack-Arranged for solo Piano The Book Thief...
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Music from the Motion Picture Soundtrack-Arranged for solo Piano The Book Thief contains seven pieces from John Williams' soundtrack to the 2013 film adaptation of Markus Zusak’s bestselling World War II novel.This songbook includes The Book Thief Learning To Read Max's Departure The Visitor and more.
15.99 GBP - vendu par Musicroom GB
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Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
60.99
Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fish...
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Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be
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Thomas Simaku: Albanian Folk Song My Beautiful Morea: Bass Clarinet: Score
14.95
Thomas Simaku: Albanian Folk Song My Beautiful Morea: Bass Clarinet: Score
BASS CLT/PFA::Bass Clarinet, Piano Accompaniment
[Partition]
University Of York Music Press
Bass Clarinet In Bb Version-'Moj e Bukura Moré (My Beautiful Morea) has its ori...
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Bass Clarinet In Bb Version-'Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary.' - Thomas Simaku
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