One (Orchestration, Paper)

Composer Alex Shapiro's piece Paper Cut is reminiscent of a movie soundtrack to which the musicians can imagine their own dramatic scene. Paper Cut is written to make the players themselves part of the action withchoreographed maneuvers that look as compelling as they sound. In fact the band members don't even play their instruments until halfway into the piece – instead they “play” paper along with a prerecorded track!The unusual element of paper and the myriad sounds that can emerge from something so simple offers a fresh view of what music-making can be and opens everyone's ears to the sonic possibilities found among everyday objects.Although Paper Cut was composed with middle schoolers in mind it's also suited to more advanced musicians since the paper techniques and the skill of playing against a prerecorded track are interesting for all ages.

The full score of Elgar's sketches for this two-act opera in a paper-bound edition. Complete with editorial introduction appendices and libretto. A score for the specialist.

A paper-bound full score of two of Elgar's slightly less well-known symphonic works recommended for study. This affordable volume brings you the authority of the scholarly Elgar Complete Edition in a clear large-format score.

Par PAPERIN. / Niveau : Facile / Batterie, clairons, trompettes / Répertoire / Parties Supplémentaires

Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France-Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Love and insanity tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical ?idée fixe? representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition especially in the treatment of theorchestration could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score which was also used for performances by pasting strips of paper over the bars or parts in question. This facsimile edition in high-quality four-colour reproduction presents the manuscript as it is today ? with strips of paper that can be folded out making both versions visible. Hugh Macdonald General Editor of the New Berlioz Edition explains the work?s genesis and presents particular passages from each movement.

19 Bände im Versand-Schuber- The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas Chorales and Motets in a handy readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.