| Concerto For Horn And
Orchestra #3 E Flat Major
K. 447 (With Parts In E
Flat And F) Cor et Piano G. Henle
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort ...(+)
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition Concerto for Horn and Orchestra No. 3 E flat major K. 447 (with parts in E flat and F) tout le talent de Mozart. Cette partition a été composée pour Cor Et Piano. C'est l'éditeur Henle qui a publiée cette oeuvre. / Cor Et Piano / Chanson En Séparée
21.10 EUR - vendu par LMI-partitions Délais: En Stock |
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| Concerto For Horn And
Orchestra #2 E Flat Major
K. 417 (With Solo Parts
In E Flat And F) Cor et Piano G. Henle
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort ...(+)
Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition Concerto for Horn and Orchestra No. 2 E flat major K. 417 (with solo parts in E flat and F) tout le talent de Mozart. Cette partition a été composée pour Cor Et Piano. C'est l'éditeur Henle qui a publiée cette oeuvre. / Cor Et Piano / Chanson En Séparée
21.10 EUR - vendu par LMI-partitions Délais: En Stock |
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| Wolfgang Amadeus Mozart:
Concerto No 1 In E-Flat
K412: Concert Band: Score
& Orchestre d'harmonie Southern Music Ltd
Concerto No 1 In E-Flat K412
49.99 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Concerto No. 1 In E-Flat
K412: Concert Band: Score Orchestre d'harmonie Southern Music Ltd
Concerto No. 1 In E-Flat K412
13.99 GBP - vendu par Musicroom GB |
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| Frédéric Chopin:
Nocturne In E Flat Major
Op.9 No.2: Concert Band:
Score and Orchestre d'harmonie PWM (Polskie Wydawnictwo Muzyczne)
Nocturne In E Flat Major Op.9 No.2
23.00 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Alto et Orchestre [Conducteur] Barenreiter
E flat major-There is no reference to the origin occasion or a performance of t...(+)
E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score and parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
42.50 GBP - vendu par Musicroom GB Délais: En Stock |
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| Pyotr Ilyich Tchaikovsky:
Concerto No.2 In G &
Concerto No.3 In E Flat:
Piano Piano seul [Partition] Dover Publications
This new edition of Tchaikovsky's Piano Concertos Nos. 2 and 3 unites both works...(+)
This new edition of Tchaikovsky's Piano Concertos Nos. 2 and 3 unites both works for the first time in a single score. In addition to a difficult-to-find version of Tchaikovsky's original PianoConcerto No. 2 in G major this edition features Alexander Siloti's suggested revisions. Although Siloti had the composer's permission to edit the work he significantly shortened the second movement despiteTchaikovsky's objections and published the concerto with his own revisions after the composer's untimely death. Piano Concerto No. 2 is usually performed with Siloti's cuts; this edition offers performersboth versions. Originally intended as a symphony the Piano Concerto No. 3 in E-flat major was published as a one-movement work. The piece contains a massive piano cadenza of striking virtuosity surpassing even that of the PianoConcerto No. 1 in both brilliance and difficulty.Pianists will appreciate this comprehensive and modestly priced two-piano edition of two major romantic virtuoso works.Reprint of the Paragon Music Publishers NewYork editions.
20.30 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Viole Et Orchestre Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
6.50 GBP - vendu par Musicroom GB |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin: Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
25.50 GBP - vendu par Musicroom GB Délais: En Stock |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Viole Et Orchestre Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
6.50 GBP - vendu par Musicroom GB |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Alto et Orchestre Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score and parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
20.00 GBP - vendu par Musicroom GB Délais: En Stock |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Viole Et Orchestre Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
5.50 GBP - vendu par Musicroom GB |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon, Viole Et Orchestre Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
6.50 GBP - vendu par Musicroom GB |
|
| Wolfgang Amadeus Mozart:
Sinfonia concertante in
E-flat major K.364:
Violin & Violon et Piano Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...(+)
for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the 'Symphonie concertante' his special attention. On April 5 1778 he wrote to his father: 'Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon'.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned 'sinfonie concertante' in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score and parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale
12.50 GBP - vendu par Musicroom GB |
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| Murphy: Theme from Family
Guy: Concert Band: Score
& Parts Orchestre d'harmonie [Conducteur et Parties séparées] Hal Leonard
Theme from the Twentieth Century Fox Television Series-From the wildly popular a...(+)
Theme from the Twentieth Century Fox Television Series-From the wildly popular animated TV series Family Guy comes this swinging and thoroughly enjoyable theme. Solidly scored in the style of a Las Vegas show band this is sure to be a hit with all audiences.InstrumentationTrombone 1 (x3)Trombone 2 (x3)Baritone - Bass Clef (x2)Baritone Treble Clef (x2)Tube (x4)Double Bass (x1)Percussion (x2)Timpani (x1)Mallet Percussion (x2)Piccolo (x1)Flute (x8)Oboe (x2)Bassoon (x2)B Flat Clarinet 1 (x4)B Flat Clarinet 2 (x4)B Flat Clarinet 3(x4)E Flat Alto Clarinet (x1)B Flat Bass Clarinet (x2)E Flat Alto Saxophone 1 (x2)E Flat Alto Saxophone 2 (x2)B Flat Tenor Saxophone (x2)E Flat Baritone Saxophone (x1)B Flat Trumpet 1 (x3)B Flat Trumpet 2 (x3)B Flat Trumpet 3 (x3)French Horn 1 (x2)French Horn 2 (x2)
57.50 GBP - vendu par Musicroom GB |
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| Wolfgang Amadeus Mozart:
Piano Concerto in E flat
major K. 482: Piano:
Study Piano seul G. Henle
Composed at the end of 1785 Mozart?s Piano Concerto in E-flat major forms a gro...(+)
Composed at the end of 1785 Mozart?s Piano Concerto in E-flat major forms a group of three with the two famous concerti in A major K. 488 and in C minor K. 491 which he completed in March of the following year. What they all have in common is Mozart?s inclusion of Clarinets in the Orchestra for the first time. In this he succeeded to particularly impressive effect with the lyrical passages in the slow sections of the E-flat-major concerto which was well received by the audience at the first performance. Indeed his father Leopold reports in a letter that Mozart ?had to repeat? the Andante immediately. G.Henle Publishers is issuing this concerto undeservedly overshadowed by its famous siblings in a handy study edition in full score; a Piano reduction is in preparation.
12.50 GBP - vendu par Musicroom GB Délais: En Stock |
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| Wolfgang Amadeus Mozart:
Horn Concerto in E-flat
major No. 3: French Horn: Cor et Piano [Partition] - Intermédiaire/avancé Barenreiter
KV 447-The Bärenreiter piano reduction of Mozart's Horn Concerto No.3 In E Flat...(+)
KV 447-The Bärenreiter piano reduction of Mozart's Horn Concerto No.3 In E Flat K.447 (BA5312a) has an idiomatic and uncluttered keyboard part. The reduction is conceived for performances with keyboard as well as for rehearsal purposes for renditions with orchestra.Franz Giegling?s editorial work on the concertos in the New Mozart Edition is the definitive scholarly-critical publication and is based naturally on every known source.The publication reflect the needs of performers today. It contains clearly laid out solo horn parts in E-flat and F a detailed historical preface commenting on the sources and a special brochure containing cadenzasand ? Eingänge ?. The cadenza and ? Eingänge ? brochure offers for the first time in print the important cadenzas by Dennis Brain Timothy Brown and Dominic Nunns. The cadenzas are presented in E-flat and then in a slightly altered version for the natural horn. All of the material has also been transposed and presented for the valve horn.
17.00 GBP - vendu par Musicroom GB Délais: En Stock |
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| 60 Warm-up Chorales for
Concert Band: Concert
Band: Score Orchestre d'harmonie [Conducteur]
Compiled and Arranged by Franco Cesarini. During his experience as a band conduc...(+)
Compiled and Arranged by Franco Cesarini. During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective.
While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself!
Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging.
Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications.
Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted.
The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations.
The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major.
With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians? awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground.
60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!
49.00 GBP - vendu par Musicroom GB |
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| 60 Warm-up Chorales for
Concert Band: Concert
Band: Score & Parts Orchestre d'harmonie
Compiled and Arranged by Franco Cesarini. During his experience as a band conduc...(+)
Compiled and Arranged by Franco Cesarini. During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective.
While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself!
Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging.
Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications.
Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted.
The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations.
The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major.
With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians? awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground.
60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!
163.00 GBP - vendu par Musicroom GB |
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| Complete Piano Concertos
(BEETHOVEN LUDWIG VAN) Piano seul Schirmer
with Audio of Full Performances and Orchestral Accompaniments Schirmer's Musical...(+)
with Audio of Full Performances and Orchestral Accompaniments Schirmer's Musical Library Vol. 2145. Par BEETHOVEN LUDWIG VAN. Beethoven's five piano concertos remain staples of the repertoire. This collection gives pianists the opportunity to play along with professionally recorded orchestral accompaniments, making it a valuable resource for concerto performance preparation. CONTENTS: Concerto No. 1 in C Major, Op. 15 Concerto No. 2 in B-flat Major, Op. 19 Concerto No. 3 in C minor, Op. 37 Concerto No. 4 in G Major, Op. 58 Concerto No. 5 in E-flat Major, Op. 73 Emperor/ Recueil / Piano
51.77 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur |
|
| Nigel Hess: New York.
Wind band: Concert Band Orchestre d'harmonie Faber Music Limited
This pack compliments the standard symphonic wind band sets of parts for 'New Yo...(+)
This pack compliments the standard symphonic wind band sets of parts for 'New York' one of the three movements from 'East Coast Pictures'.The extra parts include horns in E flat tenor trombones in treble clef bass trombone in bass clef (reading as B flat) and tubas in treble clef and E flat. Each pack also contains a transposing score.
22.00 GBP - vendu par Musicroom GB |
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| Ludwig van Beethoven:
Piano Concerto No.5 In
E-Flat Op.73: Piano:
Study Score Piano et Orchestre Barenreiter
Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.5 In E-Fl...(+)
Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.5 In E-Flat Op.73.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchasedindividually.The musical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.
14.00 GBP - vendu par Musicroom GB |
|
| Wolfgang Amadeus Mozart:
Horn Concerto in E-flat
major No. 4: French Horn: Cor et Piano Barenreiter
KV 495-Barenreiter Urtext Edition Piano reduction of Mozart's Concert In E-Flat ...(+)
KV 495-Barenreiter Urtext Edition Piano reduction of Mozart's Concert In E-Flat No.4 KV.495 originally for Horn and Orchestra.
18.50 GBP - vendu par Musicroom GB Délais: En Stock |
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| Wolfgang Amadeus Mozart:
Concert Rondo In E Flat
K.371: French Horn: Part Cor [Partition] IMC (International Music Co.)
W. A. Mozart's Concert Rondo In E Flat K.371. Part for Horn in F flat.
7.25 GBP - vendu par Musicroom GB |
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| Donahue Miles - Jazz
Workbook, Volume 1 E-flat
Edition + Cd - E Flat
Instruments Instruments en Mib [Partition + CD] - Facile Mel Bay
Media Type : Book/CD Set Level : Beginning-Intermediate Musical Genre : Jazz Num...(+)
Media Type : Book/CD Set Level : Beginning-Intermediate Musical Genre : Jazz Number of pages : 88 The Jazz Workbook (vol. 1) is a first of its kind book. Teaching single note instrumentalists (including guitarists) how to hear and play thru chord changes, this is the essential elements of jazz. The play along CD has no chord instrument included, thus the student can hear the sound of the chord on his or her own. This is a method book in which everything is written out for the student, so in turn, just playing thru the exercises in this book with or without a teacher will clear up many questions about harmony. Editions come in Bass, E-flat, B-flat and Concert.
24.00 EUR - vendu par Woodbrass Délais: Sur commande |
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| Johann Nepomuk Hummel:
Hummel Trumpet Concerto
in E Flat: Trumpet:
Instrumental Kevin Mayhew
Trumpet Concerto-Hummel's trumpet concerto was written in 1803 for the Viennese ...(+)
Trumpet Concerto-Hummel's trumpet concerto was written in 1803 for the Viennese trumpet virtuoso Anton Weidinger (1767-1852) who had developed a fully chromatic keyed trumpet. The concerto was originally written in the Key of E butis nowadays more often played in E flat so it can be comfortably performed on both B flat and E flat trumpets. This edition in E flat has parts for B flat and E flat trumpets.
9.99 GBP - vendu par Musicroom GB Délais: En Stock |
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