Mendelssohn, âgés de 11 à 14 a produit plus de 100 ouvrages dans une grande variété de genres musicaux, et peut-être la plus impressionnante de ces premiers travaux est les 12 Sinfonias pour orchestre à cordes. Les travaux ont été réalisés - presque dès qu'ils étaient w / Orchestre A Cordes

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Sinfonias BWV 787-801 (Three part Inventions) qui a été écrite pourPiano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 360. / Piano / Chanson En Séparée

Par PAUSET BRICE. / contemporain / Répertoire / Piano, 2 Voix, 2 Ensembles et Informatique

Mendelssohn between the ages of 11 and 14 produced over 100 works in a wide variety of musical genres and perhaps the most impressive of these early works are the 12 Sinfonias for String orchestra. The works were performed - almost as soon as they were written - by members of the Prussian Court Orchestra at the Mendelssohn family home in Berlin in an informal series of Sunday morning concerts the ensemble being directed by the young composer himself. This new urtext edition by Boris von Haken presents Mendelssohn’s 12 Sinfonias in study score format in 2 volumes with preface editorial and textual notes and 2 appendixes.

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ' Maintenance ' Reeds ' Mouthpieces ' Ligatures ' Sound ' Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW's alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it's all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here's the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book's 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn't think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, 'Now the Fun Begins'. There are also interesting side comments we don't often hear like: in the 70s so many young players like Ponzol were trying to get Trane's recorded sound by working on metal Links because that's what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn't have as much spit in the sound for him. It's interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I've never heard anyone else recommend these exercises and yet here they are in Peter's book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So 'the circle is unbroken' LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Zwei- und dreistimmige Inventionen-Johann Sebastian Bach’s Inventions and Sinfonias better known as two- and three-part inventions were an integral part of the teaching repertoire used in the composer’s piano lessons. And they still are! For piano pupils there is no getting away from them for their basic demands that is ‘to learn to play in tune’ and ‘to achieve to play in a cantabile style’ are still valid. The new edition of the Wiener Urtext Edition follows consistently Bach’s autograph fair copy. Ornamented versions from copies by Bach’s pupils providing an insight into Bach’s ornamentation have been printed separately; any mixing of the differentversions has been deliberately avoided. A suggestion has been made by means of an example for the realization of the ornament signs of Sinfonia No. 5. The notes on interpretation and the critical remarks provide information on further aspects of the performance practice. They are to be considered as suggestions and encouragement to study works the execution of which had not been laid down to the last detail thus opening up a wide range of creative possibilities for teaching.

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

Students, teachers and professional pianists will find this volume invaluable. This historically accurate edition contains a wealth of background information on ornamentation, dotted rhythms in the Baroque style, and the recommended tempos and guidelines for performing the works on the piano. Bach's writing is carefully separated from the editorial suggestions in light gray print. A wealth of footnotes compare the various sources consulted. 116 pages.

Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus belles mélodies irlandaises. Même si la musique irlandaise n'a pas été conçu à l'origine pour le piano, il est amusant vraiment génial de jouer ces belles mélodies traditionnelles dans les arrangements pour piano facile. En outre, le volume contient des informations sur les styles et les antécédents culturels de la musique irlandaise. Toutes les pièces peuvent également être lus conjointement avec le violon, le violon dans un livre les clés correspondant est également disponible (Le Livre de violon irlandais, ED 21378). De belles pièces pour des leçons de piano ou du jeu d'ensemble. / Piano

La partition 15 Sinfonias A 3 Voix (1 A 8) Vol1 Bwv787/801 3 Flutes A Bec Alto/Tenor/Basse de Bach Johann Sebastian/Veilhan a été composée pour Flûte à bec et plus particulièrement pour 3 Flûtes A Bec (Alto/Tenor/Basse). Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / 3 Flûtes A Bec (Alto/Tenor/Basse) / Partition

Bach's Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection, Bach himself called it an 'Instruction? which teaches students and keyboard lovers to 'treat correctly? both two and three voices, to 'achieve a singing style in playing? and to 'acquire a strong foretaste of composition?. To this end, Bach created timelessly beautiful music which has lost nothing of its relevance to us nearly 300 years after its creation. We are now presenting a new edition of this classic collection, which draws upon all known sources and offers the best in 'instruction?, especially with respect to the transmitted embellishment variants. The new Bach - ideal for pianists of every age! / Piano

La partition 15 Sinfonias A 3 Voix (9 A 15) Vol2 Bwv787/801 3 Flutes A Bec Alto/Tenor/Basse de Bach Johann Sebastian/Veilhan a été composée pour Flûte à bec et plus particulièrement pour 3 Flûtes A Bec (Alto/Tenor/Basse). Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / 3 Flûtes A Bec (Alto/Tenor/Basse) / Partition

Revised edition of HN 1064 without fingerings. Par BACH JOHANN SEBASTIAN. Bach's Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection, Bach himself called it an 'Instruction” which teaches students and keyboard lovers to 'treat correctly” both two and three voices, to 'achieve a singing style in playing” and to 'acquire a strong foretaste of composition”. To this end, Bach created timelessly beautiful music, which has lost nothing of its relevance to us nearly 300 years after its creation. We are now presenting a new edition of this classic collection, which draws upon all known sources and offers the best in 'instruction”, especially with respect to the transmitted embellishment variants. The new Bach - ideal for pianists of every age!/ Répertoire / Piano