The Vocal Library High Voice-Concert arrangements for voice and piano in an art song style of 35 great folksongs from the American heritage. These interesting and expressive settings are appropriate for collegiate recitals or advanced high school singers ascontest solos. The songs range from comic to sad from rowdy to inspirational and there are selections appropriate for women and men singers. The collection is primarily comprised of secular folksongs with a few sacred Americanfolk tunes. The same songs appear transposed in the editions for High Voice and Low Voice. There are three bonus duets. Includes fresh arrangements of ?Amazing Grace ? ?Black Is the Color of My True Love'sHair ? ?The Cruel War Is Raging ? ?How Can I Keep from Singing' ? ?I Gave My Love a Cherry ? ?Johnny Has Gone for a Soldier ? ?Shenandoah ? ?Soldier Soldier Will You Marry Me ? ?The Streets of Laredo ? ?Wayfaring Stranger ? ?Wondrous Love? and more.

Par . String duets tend to be somewhat upstaged by other instrumentations for string chamber music?especially string quartets, yet the string duet is an ideal introduction to the world of chamber music for anyone who is learning an instrument. Fabian Payr and Ruth Bamberger have selected 15 suitable harpsichord works from the Baroque period and have arranged them for two string instruments. These easily playable duet pieces are especially appropriate as material for instrumental lessons but also as repertoire for student performances. They encourage the study of Baroque performance practice and promote the somewhat overlooked subject of chamber music ensemble playing. / Date parution : 2022-07-20/ Recueil / Violon et Violoncelle

Daniel Dorffs first collection of flute duets contains settings of four familiar favorites: Oh Susanna, Red River Valley, Shenandoah, and Cindy. Folk Song Suite is equally attractive either for concert performance or informal duet playing, and each movement may be performed individually. For advanced intermediate to advanced flutists. / 2 Flûtes

This work is a demanding somewhat exotic piece for moderately advanced students.Composer and pianist Thomas A Johnson’s name is familiar from his many compositions and arrangements for Piano students throughout the 20th century particularly his Piano duets. Johnson spent his early years as accompanist for silent movies then after his training appeared frequently on the radio and gave recitals.

A wonderful volume of cool and snazzy duets for student and teacher. The Primo part consists of an easy student part in freed hand positions while the secondo part contains spiced-up teacher accompaniments. Arranger John Widger has made interesting effective and somewhat naughty versions of these well loved melodies and tunes! Play and hear classics like Albinoni's Adagio and Beethoven's Fifth like you've never heard them before!Suitable for students working at grade 1 with more challenging secondo parts for the teacher.

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the