Sing on Sight

Sight-Reading 2B develops sight-reading skills through activities that reinforce reading concepts and musicality. There are 14 units correlated with Lesson Book 2B, and each unit contains five activities that emphasize note reading, rhythm, playing without stopping, and playing expressively. These activities build sight-reading skills in a simple, fun way. / Piano

Puer Nobis is an expressive choral work of a text upon the Nativity wonderfully illuminating Bennett's gift of setting words naturally without ever losing sight of their meaning.

Composer's NoteThe study of the violin presents certain difficulties for beginners which are frequently the cause of a sudden abatement in the pupil's zeal and ambition even before he has mastered the first rudiments.The blame for this is commonly laid on the teacher who is called incapable or negligent; losing sight of the fact that the pupil began his studies without the slightest notion not merely of the difficulties to be encountered but also of the regular and assiduous industry indispensable for surmounting them. It is important therefore to smooth these first asperities by showing their utility and making them agreeable; to this end myViolin Method was published and the present Exercises have been written which latter may be considered as forming a supplement to the former. If practiced carefully and intelligently they will serve as a solid foundation for the technique of any player ambitious to become an artist. Franz Wohlfahrt.

New findings in Beethoven?s first Piano concerto.The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.In the Piano Concerto No.1 in C major Op.15 Del Mar has found no fewer than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.This new critical edition sets the highestscholarly standards without losing sight of the needs of modern performers. - Urtext edition reflecting the latest musicological research- Includes Beethoven?s cadenzas - Piano reduction with a separate solo Piano part- Performance material and piano reduction available for sale

New findings in Beethoven?s first Piano concerto.The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.In the Piano Concerto No.1 in C major Op.15 Del Mar has found no fewer than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.This new critical edition sets the highestscholarly standards without losing sight of the needs of modern performers. - Urtext edition reflecting the latest musicological research- Includes Beethoven?s cadenzas - Piano reduction with a separate solo Piano part- Performance material and piano reduction available for sale

Cette collection de chansons originales présente 193 pièces soigneusement classés lecture à vue et des exercices dans une gamme de styles musicaux. Adopter une approche basée sur l'auto-apprentissage, les 11 sections de l'ouvrage accent sur le développement des compétences différentes techniques clés ainsi que l'introduction de l'étudiant à une pléthore de termes musicaux.Chaque partie du livre contient des solos ainsi que des duos corne et des pièces avec accompagnement de piano pour pratiquer ensemble la lecture à vue. Convient pour préliminaire, à des étudiants de niveau avancé. Une partie de la série complète Sight-Reading publiée par Schott et édité par John Kember. / Cor

New findings in Beethoven’s first piano concerto The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven’s works now turns his focus on the piano concertos. In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven’s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor. This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. - Urtext edition reflecting the latest musicological research - Includes Beethoven’s cadenzas - Piano reduction with a separate solo piano part Edition no.: BA 9021-90 ISMN: 9790006543069 Editor: Del Mar, Jonathan Arranger: Schelhaas, Martin Language(s) of text: English, German Product format: Piano reduction, Part(s), Urtext edition Includes the following individual parts: Piano (2) Binding: Paperback Pages / Format: 57/52 S. - 31,0 x 24,3 cm

Par MAHLER GUSTAV. The Song of the Earth , composed in the summer of 1908, is Mahler’s best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver’s model. It is therefore all the more regrettable that he was neither able to perform his “Symphony in Songs” himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Füssl, many questions remained unanswered, while other were answered in a dubious way. The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner – in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler’s conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/E b clarinet, bass clarinet/3rd clarinet in places where the latter plays E b clarinet) to allow performances with only four clarinets. The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler’s piano autograph and the piano reduction by Wöss, which was commissioned by the composer himself, served as an inspiration for this. / Date parution : 2022-07-23/ Répertoire / Soli [AT] et Orchestre

Puer Nobis is an expressive choral work of a text upon the Nativity, wonderfully illuminating Bennett's gift of setting words naturally without ever losing sight of their meaning. / Choeur Mixte (SATB)

30 petites pièces mélodiques et rythmiques pour alto/ 30 Short Melodic and Rhythmic Pieces For Viola-Written for 2nd and 3rd year instrumental students My First Studies To Play Together for Viola presents itself as the little brother of the collection for Violin available under reference number AL30683. Valerie Bime-Apparailly once again deploys her usual teaching talent by transforming this genre often seen as boring and austere into a progressive introduction to the mysteries of technique captivating students with its clear clean design and focus on fun. In My First Studies To Play Together for Viola each unit begins with the melody that the young musician is to learn. The technical challenge to master is indicatedin boxed text. Explanations may follow (on the notation of Da Capo for example) after which comes the complete score and the accompaniment to be played by the teacher. Mozart Spohr and Beethoven but also great teachers like Charles de B?riot Jean-Delphin Alard and Maurice Hauchard help students absorb fundamental musical concepts like slurs syncopation appogiatura and bow indications without losing sight of the most important part: the pleasure of playing music.

Brahms composed his ?Violin Sonata In D Minor? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation String Instrument fingering String Instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With