Well-known Pieces From The Baroque Era - 4 Flutes A Bec

SKU: HL.50606825

ISBN 9798350114393. UPC: 196288188254.

Rough ly half of this selection of transcriptions of Baroque vocal and instrumental works consists of well-known pieces by the greatest composers of the period (Purcell: Dido and Aeneas, Rameau: Piéces de clavecin, Händel: Water Music, Music for the Royal Fireworks, J.S. Bach: B major partita, C major orchestral suite), but works by composers less well known nowadays (for example, G. Böhm and J. C. F. Fischer) are also included, together with unusual items such as Polish, German and Hungarian dances from 17th- and18th-century Hungarian manuscripts: the Kájoni and Vietórisz codexes, and Eleonóra Lányi's music book. This volume, previously available in the Leggiero series, is now, in a new guise, part of the series Treasury for String Ensembles. Treasury for String Ensembles provides carefully selected original compositions and arrangements from the Renaissance to the twentieth century, compiled in volumes according to level of difficulty, from beginner's level to professional. Elementary (all in first position): typically for three violins and cello or children's string orchestra. Intermediate: typically for three violins and cello or string quartet or youth string orchestra. Advanced: typically for string quartet or string quintet (with double bass) or string orchestra. The volumes are published in both printed and digital form. The printed edition contains the score and one copy of each part. Further copies can be ordered for the purposes of orchestral performance. The digital edition can be viewed on screen, and the parts can also be downloaded as A4-sized PDF files. The digital edition comes free with the printed edition, using the unique code provided.

SKU: HL.49004661

ISBN 9790001048880. UPC: 884088215927. 9.25x12.0x0.084 inches.

The easy violin duos by Johann Sebastian Bach, arranged by Gustav Lenzewski, have always been very popular. Wolfgang Birtel has re-edited the collection, adopting the entire arrangement except for a few movements and adding further well-known pieces by Bach. The level of difficulty ranges from very easy to advanced. The original fingering and bowing have all been maintained; numerous articulation marks, however, have been deleted as they do no longer correspond to the modern way of playing Baroque music. The ideal edition for music lessons or music-making at home.

SKU: BR.EB-8029

ISBN 9790004174326. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.