Igor Stravinsky: Suite from L'Histoire Du Soldat: Piano Trio: Score and Parts

Symphonic Suite from the Ballet The Fairy's Kiss-Study Score - Hawkes Pocket Score 665.

Par STRAVINSKY IGOR. This transcription of Suite italienne is the first full-scale composition by Igor Stravinsky to enter the double bass solo repertoire. Brian Powell, Associate Professor of Double Bass at the Frost School of Music, University of Miami, has adapted the versions of Suite italienne for violin and for cello as best suits the double bass. Moreover, he has widened the selection of movements, thus continuing a practice Stravinsky established with his instrumental collaborators (Dushkin and Piatigorsky) of allowing the performers to select material from the ballet Pulcinella. In this case the movements comprise Introduzione, Serenata, Aria, Vivo, Tarantella, Gavotta con due variazione, Scherzino and Minuetto e Finale. The Vivo movement is derived directly from the orchestral Pulcinella Suite: widely recognised by classical bassists as one of the most significant solos in the orchestral repertoire, the bass part is faithfully reproduced as in the original score. Suite italienne has music that will appeal to bassists of various performance levels – solo, chamber and orchestral bassists alike will appreciate different aspects of this music. The suite also possesses an abundance of flare and technical virtuosity that will excite audiences./ Répertoire / Contrebasse

Karl Aage Rasmussen's Etudes And Postludes (1989-90) for Piano solo.Programme NoteThe title suggests two kinds of music: something which is far away maybe almost out of reach but which you nevertheless try to embrace; and something close and familiar which you are taking leave of. Thus in a sense the pieces form a diary. The Postludes allude to other musics former music of my own and of others. The Etudes open new doors – they make use of working strategies and mind models that were quite new to me at the time. Piecesrelated to Charles Ives Igor Stravinsky and Friedric Chopin (together with a ragtime and a mournful melody) form the basis for a music pointing backwards – the Postludes. The Etudes are all based on different kinds of multiplication where a few notes or a tiny musical module repeatedly twists back on itself and closes a loop. The general name for this is self-reference and the Etudes reflect themselves endlessly the way a mirror mirrors another mirror. The result is that rhythmic and melodic patterns emerge unpredictably like gifts from unknown muses. Etudes and Postludes was commissioned by the late Yvar Mikhashoff and they are dedicated to his memory and to their first performer Erik Kaltoft. And between lines also to György Ligeti the re-discovered and sophisticated master of the classic etude for piano. The pieces can be played in any number and in any order. It is left to the discretion of the player to group pieces in suites respecting simple rules of variety.Karl Aage Rasmussen

Par STRAVINSKY IGOR. Drawing on the composer’s transcriptions for violin (with Samuel Dushkin) and for cello (with Gregor Piatigorsky), Kim Kashkashian has produced a long-overdue viola version of this neoclassical masterpiece. The choice of movements from Stravinsky’s Pulcinella Suite differs between those for violin and cello - Kashkashian has in turn made a slightly different selection comprising Introduzione, Serenata, Aria, Tarantella, Toccata and Minuetto e Finale. A show-stopping addition to the repertory of modern viola music./ Répertoire / Alto et Piano

Compilations regroupant les plus grands titres d'un genre musical spécialement regravées en piano, voix et diagrammes d'accord guitare ou en piano solo en format A4 spiralé afin qu'il reste plat sur le support du piano. / Classique / Partition / Wiro /

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company