Arrangeur: David Andrews. Par HAYDN JOHANN MICHAEL. / Répertoire / Solo et Accompagnement de Cordes

Includes work by J.C. Bach Beethoven Debussy Haydn Mozart Ravel Telemann and others.

Arranged by John Norris.Adagio un poco mosso (Piano Concerto No. 5) (Beethoven)Minuet (Quintet) (Boccherini)Flower Duet (Lakme) (Delibes)Zadok the Priest (Coronation Anthem No. 1) (Handel)Rondo (Trumpet Concerto) (Haydn)Porgi amor (The Marriage of Figaro) (Mozart)Waltz (Serenade for Strings) (Tchaikovsky)Spring (The Four Seasons) (Vivaldi)

This beautiful collection in The World's Great Classical Music series features works for flute and piano in a newly engraved clean edition complete with composer biographies and historical notes. It contains 12 favorite pieces by C.P.E. Bach J.S. Bach Handel Haydn Mozart Quantz and Telemann plus a foreword which talks about playing baroque music.

This collection of ten compositions for string quartet by Mozart includes six pieces dedicated to Joseph Haydn and three pieces composed for the king of Prussia. The King of Prussia for whom Mozart composed some of these quartets for was by all accounts a Cellist of no mean ability; especially if one may judge by these works whose Cello parts are elaborate and demanding often soaring into the upper ranges leaving the viola to take up its momentarily abandoned role as bass instrument! Works include String Quartet No. 14 in G major K387 'Spring' String Quartet No. 15 in D minor K421 String Quartet No. 16 in E flat K428 String Quartet No. 17 inB flat major K458 'The Hunt' String Quartet No. 18 in A Major K464 'Drum' String Quartet No. 19 in C major K465 'Dissonance' String Quartet No. 20 in D major K499 'Hoffmeister' String Quartet No. 21 in D major K575 'Prussian No. 1' String Quartet No. 22 in B flat major K589 'Prussian No. 2' and String Quartet No. 23 in F Major K590 'Prussian No. 3'

Eine Sammlung von 60 beliebten Liedern mit Klavierbegleitung-An Introduction To The Art Of Lieder Singing includes an impressive collection of brilliant examples of 'Lieder Singing' with works from composers such as Bach Gluck Haydn Mozart Beethoven Schubert Mendelssohn and many more.

The audio compact disc companion to the 152-page collection of 16 early- to late-intermediate sonatinas compiled by Lynn Freeman Olson and edited by Martha Hilley (item #505) that includes works by Haydn, Clementi, Diabelli, Kuhlau, Gurlitt and Bartók. With a helpful introduction that contains practice suggestions, this edition effectively guides students through the important elements of the sonatina, including rapid finger work, varying tempo and the understanding of music construction. The compact disc features performances by pianist Kim O'Reilly. Note: You can purchase the Book and CD together using item #16776. Kim O'Reilly Newman holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Music. Kim is a brain tumor survivor and now specializes in performing music for the left hand. / Piano

Ces volumes sont tous composés de 3 parties présentées sur des feuilles de couleurs différentes pour faciliter son emploi par les jeunes enfants. Tous les exercices sont basés sur des chants populaires (Ah! Vous dirais-je Maman, Le Palais Royal, Tremp'ton pain Marie, Le bon Roi Dagobert…) et sur des extraits du répertoire (Bach, Bartok, Berg, Chopin, Haydn, Monteverdi, Mozart, Poulenc, Prokofieff…). Feuilles bleues = lecture de notes - feuilles jaunes = lecture rythmique - feuilles roses = lecture chantée.

Par ROSEN CHARLES. Avec ses trente-deux sonates pour piano, Beethoven a livré l'un des corpus d'oeuvres les plus importants de toute l'histoire de la musique. Composées sur plusieurs décennies, elles étaient destinées, chose tout à  fait inhabituelle, à  l'exécution privée comme publique. Le pianiste et musicologue érudit Charles Rosen en fournit ici un guide concis à  l'attention des pianistes amateurs et professionnels, mais aussi de ceux qui, sans la pratiquer, écoutent la musique en connaisseurs. Situant d'abord les sonates dans leur contexte, il analyse ensuite leurs principes formels sous-jacents : la forme sonate, le phrasé, le tempo, l'utilisation de la pédale, les limites du clavier au temps de Beethoven. Chacune d'entre elles fait alors l'objet d'une étude à  part, appuyée sur des exemples extraits des partitions d'origine : depuis celles de 1790, auxquelles le jeune compositeur a dû sa célébrité, jusqu'aux chefs-d'oeuvre des années 1810 destinés aux grands concerts publics, pour finir par la derniêre sonate en do mineur, opus 111, de 1822. Le disque joint, enregistré par Charles Rosen, vient étayer son propos avec des passages significatifs de ces sonates et d'autres provenant d'oeuvres de Mozart, de Haydn et de Schubert. / Broché / Livre / Livres

Pièces classiques pour jeunes pianistes. Ces 15 morceaux appartiennent au répertoir classique, il permet aux jeunes pianistes d'approcher les plus grands compositeurs. Ce livre est accompagné d'un CD audio pour que l'apprentissage soit facilité. Le musicien peut ainsi écouter et comprendre le phrasé et le rythme. Le tempo permet d'utiliser le CD en s'exerçant. Au programme : Offenbach, Bach, Beethoven, Mozart, Haydn, Brugmüller, Pachelbel, Gurlitt, Lehar, Hook, Le Couppey, Borodin, Biehl et Brahms. / Piano / Partition Cd

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

From Works by: Mazas Haydn Bach Mozart Beethoven Veracini Tchaikovsky Saint-Saëns Fauré Ibert Ravel and Taki

Nocturnes ont une longue tradition - de la notturni de Mozart et Haydn à travers les nocturnes de la Epoque romantique de Chopin, qui a élevé le genre à fascinante pièce de caractère: Il a créé gemmes brillantes ambivalente dans un monde irréel de la nature humaine qui ont été aussi proche de la extrêmement sublime comme à un démoniaque abîme. Enjott Schneider '3 Nocturnes ', le noyau de chacune des qui est caractérisé par une latine devise, la parole dans cette tradition. Cicéron 'Somnus HNE imago Mortus' voit le sommeil comme une ressemblance de la mort. 'Die Zeit Eilt weg, die Liebe bleibt aber 'Time [passe mais l'amour reste] explore l'ambivalence entre que ce qui est hâte et que ce qui reste éternellement. Ovide 'Der Tropfen höhlt den Stein nicht durch Kraft, sondern durch stetes 'Fallen [Le déposer creux de la pierre, non pas par la force, mais par la constante dégoulinant] a sa contrepartie dans un minimaliste motif qui a une influence durable sur l'auditeur à travers son constante de sondage. / Guitare / niveau : Intermédiaire / Avancé / Partition

It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers who was at that time principal of the English Chamber Orchestra on the front desk of the Philharmonia Orchestra and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto' as most young players do and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There sure enough I found a large collection of Dragonetti's autograph manuscripts together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello one of Dragonetti's closest friends then deposited in the library before his departure to Italy in 1848 two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals copies of orders for strings Dragonetti wanted from Italy details about paintings he wanted to buy and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto' of course wasn't among the papers we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player becoming organist of the Chapel Royal in 1822. As a conductor

In celebration of their 20th anniversary the Brentano String Quartet commissioned a group of composers to complement incomplete works by Dufay Bach Haydn Mozart Schubert and Shostakovich. Fra(nz)g-mentation is based on FranzSchubert's unfinished Andante from his 12th string quartet. (2010) ca. 6'.