Popular and well-loved classical themes. Includes 'Bolero' (Ravel), 'Nimrod' (Elgar) and 'Radetzky March' (Strauss), plus many famous symphonies. / Saxophone

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

Par MENDELSSOHN-BARTHOLDY FELIX. Piano Score for SATB Soloists and SATB Choir / Hymnes et chorals / Répertoire / Choeur Mixte, Soprano et Orchestre

Performer: Agnes Baltsa, Antonia Fahberg, Audience Applause, Barbara Hendricks, Berliner Philharmoniker, et al. Orchestra: Berliner Philharmoniker, Orchestre Philharmonique de Berlin Conductor: Alfred Hertz, Arthur Nikisch, Bruno Walter, Carlo Maria Giulini, Claudio Abbado, et al. Compositeur: Alban Berg, Anton Bruckner, Anton Webern, Antonin Dvorak, Antonio Vivaldi, et al. CD (16 septembre 2013) Nombre de disques: 50 Format : Coffret, CD Label: Deutsche Grammophon

Par MENDELSSOHN-BARTHOLDY FELIX. German/ Répertoire / Soprano, Choeur Mixte (SATB) et Instruments à Cord

Volume 2 of the Cellissimo series contains 25 popular original pieces for cello and piano from the Baroque, Classical and Romantic eras and is a real treasure trove for advanced pupils, students, teachers and cello lovers.The cello literature comprises a lot of major standard works for lessons, concerts and competitions. Apart from classics by Vivaldi, Bréval, Beethoven, Mendelssohn, Schumann, Faurè, or Saint-Saëns, the volume also contains several lesser known pieces, e.g. by August Nölck (1862-1928) and Georg Goltermann (1824-1898).The pieces are of medium technical difficulty which corresponds to grade 3-4 or grade 5-8 of the international examination system. Some pieces can be played in the 2nd to 7th position, while several works require putting the thumb under. All selected works are particularly suitable for the development of sound, vibrato, differentiated bowing technique, as well as the performer's personal interpretation and musical presentation.Some of the pieces come with a basso part (violoncello 2) which is available for download free of charge.Other editions:Volume 1: Arietta. 40 easy original pieces for violoncello and piano (Schott, ED 22353) / Violoncelle Et Piano

Par MENDELSSOHN-BARTHOLDY FELIX. Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Kommunion, L Hautbois und Dank - Langue : Latin/Allemand/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

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Débutez en travaillant les exercices du recueil « Le Premier Maître du Piano Opus 599 », « Les Cinq Doigts Opus 777 », « Les Etudes » de Czerny ou de Burgmuller, le célèbre « petit livre » d'Anna Magdalena BACH'
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Interprétez les « Nocturnes », « Préludes », « Mazurkas »,Grandes « Valses » de Chopin, les airs les plus connus (« Fantaisie », « Marche turque », « Petite Sonate`) et `Sonates` de Mozart, les « Petits Préludes » ou les fameuses « Fugues », les « Inventions à 2 et 3 voies » de J.S.Bach, les « Romances sans Paroles » de Mendelssohn, l' « Album pour la jeunesse », « Scènes d'enfants » de Schumann, les « Moments Musicaux », les « Impromptus » de Schubert, « Les Arabesques », le « Children's Corner » ,« Le Petit Nègre» de Debussy, les « Ragtimes » de Scott Joplin, pour ne citer qu'eux... De Haendel, Schubert, Beethoven, en passant entre autres par Tchaïkovski ou Purcell, Couperin, Gounod, Scarlatti'. / DVD /

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score performance material (BA9076) and vocal score (BA9076-90) available for saleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition which was published by F. Kistner and Evers & Co. in 1851.

Ouvertüre-Die sch?ne Melusine (The Fair Melusine) Op.32Concert OvertureB?renreiter's new editions of Felix Mendelssohn Bartholdy’s great orchestral overtures edited by the internationally acclaimed conductor and scholar Christopher Hogwood are pioneer publications of his most ?important and ?popular concert overtures.This overture in its ?first version dedicated to his sister Fanny as a birthday gift in 1833 is published in the new B?renreiter Urtext edition for the first time together with the later version. This later version which Felix Mendelssohn Bartholdy saw into print (1836) isalso not available today.In the new B?renreiter Urtext edition of “Die sch?ne ?Melusine” Christopher Hogwood makes use of all known sources. It contains both versions back-to-back in score and parts.The preface addresses the compositions' genesis and sources. There is also a critical report.This publication of Mendelssohn’s “Die sch?ne Melusine” marks the first instance of a scholarly-critical edition of one of Felix Mendelssohn Bartholdy’s concert overtures. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

28 pieces composed between 1830 and 1930 selected and edited by Alan Jones. The pieces are of Grade 5 standard and include works by Mendelssohn Franck Grieg Reger and Wolf.

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood