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Last month of the year
$2.95
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By Ernst Scherer. For SATB Choir a cappella. Christmas Spiritual. Published by Tonos (German import). (2640/1)
Instrumentation :
Chorale SATB
Sous-instrumentation :
SATB A Cappella
Editeur :
Tonos
Information vendeur :
Sheetmusicplus
Emplacement :
USA
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à l'exception des pays Européens!
, Depuis le 1er juillet 2021, Sheet Music Plus n'exp´die plus de produits physiques en Europe)
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The Last Month of the Year: SAB: Vocal Score
11.25
The Last Month of the Year: SAB: Vocal Score
Chorale 3 parties
SAB
[Vocal Score]
Hal Leonard
Recently featured by the Blind Boys of Alabama this is not to be missed. Energe...
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Recently featured by the Blind Boys of Alabama this is not to be missed. Energetic and fun to sing this will be a favorite for years to come. A real powerhouse!Available separately: SATB SAB 2-Part and ShowTrax CD. Performance Time: Approx. 3:00.
11.25 GBP - vendu par Musicroom GB
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Easy Charts Play Along Band 5
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Easy Charts Play Along Band 5
Tous Les Instruments
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'Easy Charts' is the successful play-along series of Schott which enables talent...
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'Easy Charts' is the successful play-along series of Schott which enables talented young musicians to enjoy playing the latest hits. The fifth volume in this series too contains the 12 most popular songs of the last months, including the feel-good song 'Happy' or the sentimental ballad 'Let Her Go' by Passenger. The arrangements have been written for instruments tuned to C, B flat and E flat and can therefore be played by flutes, oboes, clarinets, saxophones or trumpets, for example. / Tout Instrument
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Joby Talbot: September - The Last Day of Summer: Piano: Instrumental Work
7.99
Joby Talbot: September - The Last Day of Summer: Piano: Instrumental Work
Piano seul
[Partition]
Chester
POD-Released in 2005 the album Once Around The Sun is the outcome of Joby Talbo...
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POD-Released in 2005 the album Once Around The Sun is the outcome of Joby Talbot's residency with Classic FM. During his year in residence Talbot composed a new piece of music each month scored for up to five instruments. The resulting twelve compositions were then premiered on Classic FM and were recorded on CD. September - The Last Day OfSummer was the ninth piece to be composed and is scored here for solo Piano.
7.99 GBP - vendu par Musicroom GB
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Nazareth - Hair of the Dog: Live from London: Recorded Performance
16.80
Nazareth - Hair of the Dog: Live from London: Recorded Performance
MVD
Nazareth is one of the legendary acts to emerge from the 1970s progressive and h...
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Nazareth is one of the legendary acts to emerge from the 1970s progressive and hard rock scenes a name recognized and loved all around the world. The band formed in the late 1960s but only began to enjoy success in the mid-1970s when their Razamanaz album spawned two top ten UK singles ?Broken Down Angel? and ?Bad Bad Boy.? It was 1975's Hair of the Dog album that broke the band as an international success selling over a million copies in the U.S. the single ?Love Hurts? was a U.S. top ten hit. The band went on to establish themselves in the vanguard of rock with a series of classic albums throughout the late '70s and early '80s. This DVD captures a full show fromthe London leg of one of the band's many UK tours from the early 1980s. Nazareth are still actively touring the world and releasing new material their latest album The Newz was released only last year lapped up by their ever-loyal fanbase. Songs: Telegram • Razamanaz • I Want to Do Everything for You • Boys in the Band • Beggars Day • Dream On • Cocaine • This Month's Messiah • This Flight Tonight • Love Hurts • Hair of the Dog • Teenage Nervous Breakdown • Ain't Got You.
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Concerto da chiesa (SCHROEDER HERMANN)
21.65
Concerto da chiesa (SCHROEDER HERMANN)
Orgue
Schott
Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Sch...
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Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Schroeder (1904-1984). It was composed a few months before his death. The premiere was performed by Clemens Ganz, then organist at the Cathedral of Cologne, in memory of the esteemed teacher and college colleague. The work marks the end of a tirelessly prolific life with more than one hundred organ works of various characters, genres and possibilities of use in liturgy and concerts. The title 'Concerto da chiesa' reveals that this is a work for concerts, not for being used in services. The three-movement composition is an unmistakable 'Schroeder' work: emphasis of linearity according to high baroque standards, conciseness and sometimes impulsive gestures of the themes and rhythms, layers of parallel chords within a freely tonal modern harmony, not forgetting the plasticity of form and the motor functions which are surprisingly energetic for an eighty-year-old./ Répertoire / Orgue
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101 Christmas Songs
21.68
101 Christmas Songs
Percussion
[Partition]
Hal Leonard
for Bells/Glockenspiel. Par . / Date parution : 2021-11-03/ Recueil / Cloches o...
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for Bells/Glockenspiel. Par . / Date parution : 2021-11-03/ Recueil / Cloches ou Glockenspiel
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101 Christmas Songs
21.68
101 Christmas Songs
Flûte traversière
[Partition]
Hal Leonard
for Flute. Instrumentalists will love this jam-packed collection of 101 holiday ...
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for Flute. Instrumentalists will love this jam-packed collection of 101 holiday favorites!/ Recueil / Flûte Traversière
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Anne Boyd: The Quiet Place: Chamber Ensemble: Score and Parts
14.00
Anne Boyd: The Quiet Place: Chamber Ensemble: Score and Parts
Orchestre de chambre
[Conducteur et Parties séparées]
University Of York Music Press
Anne Boyd's The Quiet Place for Oboe (doubling antique cymbals) Clarinet (doubl...
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Anne Boyd's The Quiet Place for Oboe (doubling antique cymbals) Clarinet (doubling rin) Viola and Harp.The Quiet Place was commissioned by the Warwick andLeamington Festival for performance by Okeanos on their New Music Day on 14th July 2002.'The Quiet Place' is a meditation site in the University of York dedicated by Dame Janet Baker 'In honour of thespirituality which is in all people'. It was a place I visited frequently in the months I spent as visiting Professor at the University in late 2001. So soon after the attack on the New York Trade Centre the worldfelt a very unstable place especially to be so far from my Australian home. It was difficult to make much sense of existence in a world of fanatical fundamentalism - both Islamic and Christian. Perhaps for comfort I foundmyself thinking back a thousand years to the vital earth based spirituality of Hildegard of Bingen and uncovered an Antiphon she had composed 'Nunc Aperuit'. This chant became the basis of the work I have written forOkeanos in response to an invitation from Jinny Shaw whom I met in York last year. In English translation the words of the chant translate as 'Now the closed door has opened for us / What the serpent hassuffocated in woman./ Therefore shines forth in thedawn/ the flower from the Virgin Mary. ' The music of 'The Quiet Place' is a simple meditation which explores the moods of this text often retreating into a silencewhich is both breath and transcendence. - Anne Boyd
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Stefan Grossman: Legendary Country Blues Guitar Solos: Guitar: Instrumental
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Stefan Grossman: Legendary Country Blues Guitar Solos: Guitar: Instrumental
Guitare
[Partition + Accès audio]
Mel Bay
This book was a delight and a challenge to put together. Stefan Grossman wanted ...
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This book was a delight and a challenge to put together. Stefan Grossman wanted to highlight the playing of six blues players that have greatly influenced him: Big Bill Broonzy Lonnie Johnson Rev. Gary Davis Blind Blake Scrapper Blackwell and Tampa Red. Each has recorded wonderful instrumental solos that have been transcribed from the first note played to the last. These are complete transcriptions. Hopefully they will bring insight into theplaying ideas and techniques of these legendary players. Titles and artists included are: Big Bill Broonzy - Slow Blues St. Louis Blues; Scrapper Blackwell - A Blues D Blues; Blind Blake - Guitar Chimes BlindArthur’s Breakdown; Rev. Gary Davis - Bill Bailey Walkin’ Dog Blues; Lonnie Johnson - Blues for the West End Blues in G Woke Up With the Blues in My Fingers; Tampa Red Things ’Bout Coming MyWay. How to use this book: 1) Listen over and over to the recordings available via download for this collection. 2) Get a program that can control audio files. Use this with the transcriptions and therecordings. 3) Be patient!! Practice and practice!! These are blues masterpieces and can take weeks or month or years to get under your fingers. But what fun it will be once you can play one of these instrumental.
22.99 GBP - vendu par Musicroom GB
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The Last Month Of The Year (ODOM JOHN)
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Voix, Orff-Instruments, Flûtes à Bec (SSA) et Guit
[Partition]
Schott
Par ODOM JOHN. 3. Virgin Mary, Meek And Mild/ Feuillet / Voix, Orff-Instruments,...
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Par ODOM JOHN. 3. Virgin Mary, Meek And Mild/ Feuillet / Voix, Orff-Instruments, Flûtes à Bec (SSA) et Guit
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Wolfgang Amadeus Mozart: Violin Concerto No.3 In G K.216: Violin: Parts
Orchestre, Violon
Barenreiter
Mozart composed the majority of his works for solo String Instruments and Orches...
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Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.The Piano reduction of Mozart?s G Major Violin Concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages.The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section.A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas ?Eingänge? and fermata embellishments by Eugène Ysaÿe Leopold Auer Sam Franko and Martin Wulfhorst.This collection offers players a spectrum of styles available in no other publication.Urtext of the New Mozart EditionFull score and parts (BA4865) Violin and Piano reduction (BA4865-90) and study score format 22.5 x 16.5cm (TP272) available for sale.
18.00 GBP - vendu par Musicroom GB
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Violinkonzert (MOZART WOLFGANG AMADEUS)
13.40
Violinkonzert (MOZART WOLFGANG AMADEUS)
Orchestre, Violon
[Partition]
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart composed the majority of his works for solo ...
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Par MOZART WOLFGANG AMADEUS. Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775, which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart, who still occupied the post of concertmaster to the Prince-Archbishop, was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773. The Piano reduction of Mozart ’s G Major Violin Concerto is easier to play, uncluttered and practical with page turns where you need them and where necessary fold-out pages. The solo part gives players the critical Urtext of the New Mozart Edition. The tutti passages are all presented in normal size print for players wanting to perform these sections with the first Violins. An ossia has been included in small print for the last four measures before the first solo passage to allow for the transition to the solo section. A prepared performance part is also included with bowings, fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas, ”Eingänge” and fermata embellishments by Eugène Ysaÿe, Leopold Auer, Sam Franko and Martin Wulfhorst. This collection offers players a spectrum of styles available in no other publication. Urtext of the New Mozart Edition Full score and parts (BA4865), Violin and Piano reduction (BA4865-90) and study score format 22. 5 x 16. 5cm (TP272) available for sale./ Répertoire / Violon et Orchestre
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Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO)
39.43
Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO)
Flûte Traversière Cordes et Basse Continue
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a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many f...
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a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
21.10
Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violon et Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wien...
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2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.
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