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Anton Bruckner: Symphony No 7: Piano Duet: Instrumental Album
9.95
Anton Bruckner: Symphony No 7: Piano Duet: Instrumental Album
1 Piano, 4 mains
Spartan Press
Easy Bruckner Piano Duets-Easy Bruckner Piano Duets features all four movements ...
(+)
Easy Bruckner Piano Duets-Easy Bruckner Piano Duets features all four movements of Anton Bruckner's 7th symphony condensed and abbreviated into four gorgeous nuggets of gold. With practice backing tracks and performances on the accompanying CD. Highly playable.
9.95 GBP - vendu par Musicroom GB
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The Classical Piano Method
1 Piano, 4 mains
Schott
This volume is an ideal supplement to The Classical Piano Method: Method Book 3 ...
(+)
This volume is an ideal supplement to The Classical Piano Method: Method Book 3 (ED 13563) - contains easy to intermediate repertoire, suitable for pianists who have completed Method Book 2 of the series, or for those returning to the instrument after a break - includes a selection of 23 beautiful classical duets and arrangements of well-known classical pieces, with straightforward accompaniments ideal for a teacher or friend - comes with a CD recording of all pieces played by professional concert pianists on a grand piano, providing model performances to hel you learn - offers full demonstration tracks on the CD, as well as the accompaniments alone, for play-along purposes - presents pieces in a progressively graded format, providing you with relevant repertoire as your playing develops / Piano 4 Mains
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The Classical Piano Method - Duet Collection 2
17.60
The Classical Piano Method - Duet Collection 2
1 Piano, 4 mains
[Partition + CD]
-
Facile
Schott
Cette méthode d'enseignement passionnant, par le pédagogue de renom piano, Han...
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Cette méthode d'enseignement passionnant, par le pédagogue de renom piano, Hans-Günter Heumann est idéal pour les adultes et les jeunes qui cherchent à apprendre le piano à partir de zéro, ou pour ceux qui retournent au piano après une pause de la lecture. Utilisation de la musique classique comme base de l'apprentissage, cette méthode introduit intéressants, des morceaux variés et bien connu dès le départ. Les deux livres de méthode ont été soigneusement conçus pour progresser par petites étapes gérables, en commençant par les modèles simples et des exercices de doigté, sur quelques-unes des plus belles mélodies et des pièces des époques baroque, classique et romantique, comme l'Ode à la joie, Für Elise et le Beau Danube bleu. Diriger l'élève à travers une série d'exercices, des morceaux du répertoire, des chèques, des conseils sur la théorie de la pratique, le jeu et la technique, et des biographies de compositeurs, le processus d'apprentissage est intéressante, bien informés et amusants.Les quatre volumes supplémentaires présenter du matériel supplémentaire pour aider l'apprentissage à chaque stade de développement des élèves, tout en offrant un plus large éventail de belles pièces, pour le pianiste solo, ou en duo piano.Les livres de méthode et collections duo sont accompagnés d'un enregistrement sur CD de toutes les pièces jouées sur un piano à queue par un pianiste de concert professionnelle, ainsi que quelques pièces supplémentaires d'accompagnement, qui peut être utilisé comme Play-along titres. / Piano 4 Mains
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Curtain Up! Bühne Frei ! 1
25.20
Curtain Up! Bühne Frei ! 1
Flûte traversière et Piano
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Facile
Universal Edition
15 Well-Known Melodies In Easy Arrangements. The music chosen for this book rang...
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15 Well-Known Melodies In Easy Arrangements. The music chosen for this book ranges from the early classical period through to the 20th century and includes Vanhal, Leopold and Wolfgang A. Mozart through Diabelli, Bruckner and Tchaikovsky, to Ravel. Two lively compositions by Maria Holzeis-Augustin are also included. All arrangements are suitable as concert pieces and can be used alongside any flute tutor. - Easy arrangements of works by Vanhal, Leopold and Wolfgang A. Mozart through to Tchaikovsky and Ravel - Two lively compositions by Maria Holzeis-Augustin - All arrangements are suitable as concert pieces and can be used alongside any flute tutor / Niveau : Facile / Recueil / Flûte Traversière et Piano
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Anton Bruckner: Essential Classics unlocked for Piano: Piano: Instrumental Album
3.95
Anton Bruckner: Essential Classics unlocked for Piano: Piano: Instrumental Album
Piano seul
Spartan Press
Book 8 Bruckner-A series of famous works abridged and 'unlocked' for easy Piano...
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Book 8 Bruckner-A series of famous works abridged and 'unlocked' for easy Piano while retaining the essence of each great work. All movements are represented.This book contains excerpts from each movement of the momentous Symphony No 7.
3.95 GBP - vendu par Musicroom GB
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14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
406.80
14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
Orchestre d'harmonie
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...
(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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5 Tantum Ergo (BRUCKNER ANTON / DOSS THOMAS (Arr)
152.60
5 Tantum Ergo (BRUCKNER ANTON / DOSS THOMAS (Arr)
Orchestre d'harmonie
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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