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| Luigi Denza: Funiculi, Funicula Concert band [Score and Parts] - Intermediate C.L. Barnhouse
By Luigi Denza. Arranged by Alfred Reed. Transcription,lighter. Concert Band. Cl...(+)
By Luigi Denza. Arranged by Alfred Reed. Transcription,lighter. Concert Band. Classics. Level: Grade 3.5. Score and set of parts. Composed 1994. Duration 0:02:14. Published by C.L. Barnhouse.
$68.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cadenzas Trumpet, Orchestra [Solo Part] - Intermediate/advanced Schott
To the Concerto for Trumpet and Orchestra Eflat (Solo Part). By Krzysztof Pender...(+)
To the Concerto for Trumpet and Orchestra Eflat (Solo Part). By Krzysztof Penderecki, Franz Joseph Haydn. Schott. Size 9.25x12 inches. 12 pages. Published by Schott.
$17.99 - See more - Buy online | | |
| 3 Cadenzas to Mozart's Concerto in C major K. 299 (297c) Breitkopf & Härtel
Flute with 1 other inst. SKU: BR.EB-8736 Composed by Michael Kuhn. Solo i...(+)
Flute with 1 other inst. SKU: BR.EB-8736 Composed by Michael Kuhn. Solo instruments; stapled. Edition Breitkopf. Kuhn's new edition should be seen as an alternative to the popular cadenzas you under Reinecke, 3 Cadenzas for Mozart's Concerto in C major K. 299 (297C) . Classical period. Score. 8 pages. Breitkopf and Haertel #EB 8736. Published by Breitkopf and Haertel (BR.EB-8736). ISBN 9790004181232. 9 x 12 inches. One could say that Michael Kuhn's cadenzas to Mozart's beloved Double Concerto K. 299 went directly from the concert stage to the publisher, and from the publisher back to performers. Commissioned by the Concentus Musicus Wien, they were recorded on CD in 1998 under the direction of Nikolaus Harnoncourt. Although the musicians played on original instruments (transverse flute and single-action pedal harp), the cadenzas can be executed just as effectively on modern instruments. For his work, Kuhn took as his guideline the original cadenzas Mozart wrote for his Sinfonia concertante K. 364 and his Concerto for two pianos and orchestra K. 365, which date from about the same time. Kuhn's new edition should be seen as an alternative to Carl Reinecke's popular cadenzas (EB 6859), which continue to be available from Breitkopf & Hartel.
Kuhn's new edition should be seen as an alternative to the popular cadenzas 3 Cadenzas for Mozart's Concerto in C major K. 299 (297c) by Carl Reinecke. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto in Eb Major Trumpet, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Curiosando Bach. Appunti di studio su alcune formule armoniche di Johann Sebastian Bach nella prassi compositiva dei Corali Ut Orpheus
Books and Journals; Early Music; Music Education SKU: UT.DM-21 Composed b...(+)
Books and Journals; Early Music; Music Education SKU: UT.DM-21 Composed by Vincenzo Corrao. Paperback (Soft Cover). Classical. Books and Journals; Early Music; Music Education. Ut Orpheus #DM 21. Published by Ut Orpheus (UT.DM-21). ISBN 9788881094523. 6.5 x 9.5 inches. Nel redigere questi appunti di studio, spero di comunicare la mia ‘curiosità’ verso la prassi compositiva di uno tra i più grandi maestri di tutti i tempi: Johann Sebastian Bach (1685-1750). Per comprendere (almeno in parte) lo stile bachiano, mi sono basato su alcune strutture armoniche riscontrabili con regolarità in fasi precadenzali. Ho potuto notare come una di queste strutture da me indagate (nello studio definita formula-tipo) venisse ulteriormente elaborata in tutti i suoi parametri musicali fondamentali (melodia, contrappunto, armonia e ritmo) per dare vita a ‘nuovi’ insiemi armonico-contrappuntistici. Tali formule derivate dimostrano come lo stile compositivo bachiano poggi soprattutto su tecniche di tipo artigianale. Ho potuto inoltre ammirare come il Maestro abbia saputo coniugare il contrappunto di origine modale rinascimentale con le proprie (geniali) invenzioni armoniche, basate sul ‘moderno’ funzionalismo tonale (vedi la formula tipo modale). Perciò è mia convinzione che, nello studio sui corali, per caratterizzare lo stile compositivo del Kantor bisogna innanzi tutto identificare i componenti essenziali del suo linguaggio armonico cadenzale (linguaggio ‘moderno’ ma nello stesso tempo derivato dalla tradizione dei maestri del ’500). Individuati gli elementi strutturali peculiari, possiamo riconoscerli, reiterati nei punti ‘chiave’ (cadenze) del discorso musicale tonale; in tal modo, essi concorrono a rendere unitaria ed organica la tipica armonizzazione a quattro voci di una forma musicale così ricca di varianti melodiche come il corale evangelico luterano. (Vincenzo Corrao). $21.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Violin Concerto in C major Hob VIIa:1 Cello, Orchestra Breitkopf & Härtel
Violin and orchestra (solo: vl - str - bc) SKU: BR.PB-5297 Composed by Fr...(+)
Violin and orchestra (solo: vl - str - bc) SKU: BR.PB-5297 Composed by Franz Joseph Haydn. Edited by Walter Heinz Bernstein. Orchestra; stapled. Partitur-Bibliothek (Score Library). Haydn's C major Concerto now in a new, up-to-date edition EB 8634 (edition for violin and piano) with cadenzas by Thomas Zehetmair Solo concerto; Classical. Full score. 24 pages. Duration 24'. Breitkopf and Haertel #PB 5297. Published by Breitkopf and Haertel (BR.PB-5297). ISBN 9790004211755. 10 x 12.5 inches. Haydn's Violin Concerto in C major has always been closely linked to Breitkopf & Hartel, which began selling copies of the work back in 1769. The first edition came out in 1909 and helped secure the work a broad dissemination and lasting popularity. Strangely enough, this first edition is one of the most important sources today, since its own source a copy of Haydn's autograph, perhaps the autograph itself was lost at the end of World War II. Although other copies from Haydn's time were made, they are textually less reliable. Walter Heinz Bernstein has created an easily playable and pleasant-sounding piano score on the basis of the first edition, whereby he has respected the early classical continuo practice. As he did earlier in the G major Concerto (EB 8606), Thomas Zehetmair has once again accepted the challenging task of embellishing the solo part with stylistically accurate cadenzas and flourishes. This delightful concerto is thus now available in a modern edition.The piano-harpsichord part by Walter Heinz Bernstein features a continuo part in keeping with the late Baroque performing tradition and offers a much cleaner, unfettered realization.(Stringendo)
Haydn's C major Concerto now in a new, up-to-date edition. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Violin 2 (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-151...(+)
Violin 2 (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-16 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Part. 8 pages. Duration 20'. Breitkopf and Haertel #OB 15143-16. Published by Breitkopf and Haertel (BR.OB-15143-16). ISBN 9790004342015. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Viola (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-...(+)
Viola (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-19 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Part. 4 pages. Duration 20'. Breitkopf and Haertel #OB 15143-19. Published by Breitkopf and Haertel (BR.OB-15143-19). ISBN 9790004342022. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Woodwinds (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15...(+)
Woodwinds (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-30 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Set of parts. 16 pages. Duration 20'. Breitkopf and Haertel #OB 15143-30. Published by Breitkopf and Haertel (BR.OB-15143-30). ISBN 9790004342046. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Basso (cello/double bass) (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) ...(+)
Basso (cello/double bass) (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-26 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Part. 8 pages. Duration 20'. Breitkopf and Haertel #OB 15143-26. Published by Breitkopf and Haertel (BR.OB-15143-26). ISBN 9790004342039. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) ...(+)
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.PB-15144-07 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag Solo concerto; Early classical; Classical. Study Score. 28 pages. Duration 20'. Breitkopf and Haertel #PB 15144-07. Published by Breitkopf and Haertel (BR.PB-15144-07). ISBN 9790004215968. 6.5 x 9 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) ...(+)
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.PB-15144 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; Early classical; Classical. Study Score. Duration 20'. Breitkopf and Haertel #PB 15144. Published by Breitkopf and Haertel (BR.PB-15144). ISBN 9790004215968. 6.5 x 9 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Violin 1 (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-151...(+)
Violin 1 (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-15 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Part. 8 pages. Duration 20'. Breitkopf and Haertel #OB 15143-15. Published by Breitkopf and Haertel (BR.OB-15143-15). ISBN 9790004342008. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Bass Concerto Breitkopf & Härtel
Continuo realization (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SK...(+)
Continuo realization (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) SKU: BR.OB-15143-12 Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Part. 12 pages. Duration 20'. Breitkopf and Haertel #OB 15143-12. Published by Breitkopf and Haertel (BR.OB-15143-12). ISBN 9790004342169. 10 x 12.5 inches. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo). $20.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Oboe Concerto Bote and Bock
Score and Parts Oboe; Percussion; Piano (Score & Parts) SKU: HL.48024348 ...(+)
Score and Parts Oboe; Percussion; Piano (Score & Parts) SKU: HL.48024348 Two Pianos, Percussion, Oboe Score and Parts. Composed by Ursula Mamlok. Boosey & Hawkes Chamber Music. Classical. Softcover. 56 pages. Duration 900 seconds. Bote & Bock #M202535059. Published by Bote & Bock (HL.48024348). Her oboe concerto was used by Ursula Mamlok over the course of several decades. The first version with orchestra she wrote between 1974 and 1976, it was first performed in 2013 in Gottingen. In 1980, the composer created the second version for oboe, two piano andpercussion, which is now available here as a purchase edition; this version was premiered in 1982 at the Manhattan School of Music in New York, where Ursula Mamlok worked for a long time as a teacher, with the oboist Henry Schuman as a soloist. Finally, Mamlok wrote a third version with chamber orchestra accompaniment in 2003. The three movements played without pause still hint at the structure of the classical solo concert, and the oboe also emerges with several solo cadenzas. However, the tonal language is decidedly modern, with frequent use of multiphonics and dramatic-noisy percussion. $60.00 - See more - Buy online | | |
| Piano Concerto No. 2 Op. 28 Simrock
Piano; Piano Accompaniment (Piano For 2 Players) SKU: HL.48025063 Vers...(+)
Piano; Piano Accompaniment (Piano For 2 Players) SKU: HL.48025063 Version for piano reducation and piano solo. Composed by Sergei Bortkiewicz. BH Piano. Classical. Softcover. 100 pages. Duration 1920 seconds. Simrock #M221122605. Published by Simrock (HL.48025063). ISBN 9783923051755. UPC: 196288031758. 9.0x12.0x0.338 inches. Sergej Bortkiewicz (1877-1952) wrote his Russian Rhapsody, Op. 45 (1935) and the Piano Concerto No. 2 in C minor, Op. 28 (1924) for the pianist Paul Wittgenstein. He lost his right arm in the First World War and thereupon commissioned works from important composers. While Wittgenstein made some of the contributions by Ravel, Britten, Hindemith, Richard Strauss and others. sounded too modern, he had a preference for Bortkiewicz's concerto, as it paid homage to the “pharaonic virtuoso†late romantic tradition à la Rachmaninoff. It is precisely this “sound†that the Piano Concerto No. 2 recommended for a new version for two hands, which is now available and opens up a broader scope for the charming, emotional work. In addition to the redesign of the solo part, the arranger Alfonso Soldano also offers a new cadenza that ensures a smoother transition between tempo and sound changes. $86.00 - See more - Buy online | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Trio (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10768 Urtext<...(+)
Trio (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10768 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Arranged by Jan Philip Schulze. Chamber music; Softbound. Edition Breitkopf. In Cooperation with G. Henle Verlag. Solo concerto; Classical. Piano reduction. 106 pages. Duration 27'. Breitkopf and Haertel #EB 10768. Published by Breitkopf and Haertel (BR.EB-10768). ISBN 9790201807683. 9.5 x 12 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $35.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Woodwinds (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-30 (+)
Woodwinds (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-30 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Set of parts. 16 pages. Duration 27'. Breitkopf and Haertel #OB 15134-30. Published by Breitkopf and Haertel (BR.OB-15134-30). ISBN 9790004341513. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $23.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Violin 1 (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-15 ...(+)
Violin 1 (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-15 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Part. 12 pages. Duration 27'. Breitkopf and Haertel #OB 15134-15. Published by Breitkopf and Haertel (BR.OB-15134-15). ISBN 9790004341476. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Double concerto (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.PB-15135-07<...(+)
Double concerto (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.PB-15135-07 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Study Score. 60 pages. Duration 27'. Breitkopf and Haertel #PB 15135-07. Published by Breitkopf and Haertel (BR.PB-15135-07). ISBN 9790004214718. 6.5 x 9 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Basso (cello/double bass) (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB...(+)
Basso (cello/double bass) (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-26 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Part. 8 pages. Duration 27'. Breitkopf and Haertel #OB 15134-26. Published by Breitkopf and Haertel (BR.OB-15134-26). ISBN 9790004341506. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Violin 2 (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-16 ...(+)
Violin 2 (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-16 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Part. 8 pages. Duration 27'. Breitkopf and Haertel #OB 15134-16. Published by Breitkopf and Haertel (BR.OB-15134-16). ISBN 9790004341483. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Viola (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-19 Urt...(+)
Viola (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.OB-15134-19 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Part. 8 pages. Duration 27'. Breitkopf and Haertel #OB 15134-19. Published by Breitkopf and Haertel (BR.OB-15134-19). ISBN 9790004341490. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Poul Ruders: Break-Dance (Score) Wilhelm Hansen
Brass Ensemble, Trumpet, Trombone and Piano SKU: HL.14027970 Composed by ...(+)
Brass Ensemble, Trumpet, Trombone and Piano SKU: HL.14027970 Composed by Poul Ruders. Music Sales America. Classical. Score. 16 pages. Edition Wilhelm Hansen #KP00263. Published by Edition Wilhelm Hansen (HL.14027970). ISBN 9788759859353. 16.75x11.75x0.425 inches. English. Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto in C major K. 299 (297c) Breitkopf & Härtel
Double concerto (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.PB-15134 ...(+)
Double concerto (solos: fl.hp - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.PB-15134 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Andras Adorjan. Orchestra; stapled. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag Solo concerto; Classical. Full score. 56 pages. Duration 27'. Breitkopf and Haertel #PB 15134. Published by Breitkopf and Haertel (BR.PB-15134). ISBN 9790004214701. 10 x 12.5 inches. Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin. $50.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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| Cadenzas (PENDERECKI
KRZYSZTOF) Trumpet [Sheet music] Schott
to the Concerto for Trumpet and Orchestra Eb major by Joseph Haydn. Par PENDEREC...(+)
to the Concerto for Trumpet and Orchestra Eb major by Joseph Haydn. Par PENDERECKI KRZYSZTOF. In the late classical period composers began to want to determine every note in the cadenzas of solo concertos, rather than leaving this as a matter for the soloist’s virtuoso inspiration. Penderecki’s cadenzas for Haydn’s celebrated trumpet concerto are written in this tradition, but the creative will of the modern composer makes them far wider in scope.
Penderecki’s stylistic methods leave the soloist every opportunity to display their virtuoso skills. The original notes of Haydn’s concerto movements remain present as an underlying framework. Having the horn parts worked into the cadenzas produces a highly structured form that shows the trumpet concerto of the Classical period reflected in the light of modern composition techniques./ Répertoire / Trompette
17.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Double Bass Concerto
Violoncelle Ou
Contrebasse (VANHAL
JOHANN BAPTIST) Violoncelle ou Contrebasse (Partie
Séparée) [Sheet music] Breitkopf & Härtel
Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass ...(+)
Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Violoncelle ou Contrebasse (Partie Séparée)
30.20 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Double Bass Concerto
(VANHAL JOHANN BAPTIST) Conducteur [Sheet music] Breitkopf & Härtel
Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass ...(+)
Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Conducteur
31.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
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