Adagio et Scherzo

Par WOLFF FELICIEN. La réussite sonore de la Symphonie concertante avec trompette solo me donna envie d'associer les trois instruments les plus claironnants de l'orchestre en un trio. Dans cette oeuvre, d'exécution certes difficile, je pense avoir réussi à m'exprimer dans un langage musical particulièrement original. Elle comporte cinq mouvements : Prélude, Fugue, Adagio, Scherzo et Final qui s'opposent et se complètent opportunément. / Niveau : Assez Difficile / Contemporain / Date parution : 2005-09-01/ Répertoire / Trompette, Cor en Fa et Trombone

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Memorable tribute from one musical genius to another, reproduced from authoritative editions, reveals Liszt's remarkable capacity for translating orchestral effects into pianistic terms. An astonishing, brilliant, and sensitive tribute to the master by the 19th-century's greatest piano virtuoso. Content : Preface: Liszt's handwritten note Preface: English translation Introduction Glossary Symphony No. 1 in C Major, Op. 21 I. Adagio molto-Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Adagio-Allegro molto vivace Symphony No. 2 in D Major, Op. 36 I. Adagio molto-Allegro con brio II. Larghetto III. Scherzo: Allegro IV. Allegro molto Symphony No. 3 in E-flat Major (Eroica), Op. 55 I. Allego con brio II. Marche funèbre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto Symphony No. 4 in B-flat Major, Op. 60 I. Adagio-Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro

Interm. Pieces by Bach Beethoven Corelli Dancla Mozart Sarasate Schubert Schumann Vivaldi-With two CDs of performances and accompaniments. Baroque Classical and Romantic violin solos suitable for the intermediate student violinist. The two enhanced CDs include performances and accompaniments of each piece and can also be used in computers to adjust the tempo. Content - Bach J.S.: Allegro from Sonata in B minor - Beethoven: Andante Scherzoso from Sonata op. 23 - Beethoven: Scherzo from Sonata op. 30 no. 2 - Corelli: Preludio and Allemanda from Sonata in E minor op. 5 no. 8 - Dancla: Air varie on a theme by Donizetti op. 89 no. 4 - Mozart: Adagio and Allegro from Sonata K.379 - Sarasate: Playera from Spanish Dances op.23 - Schubert: Finale from Sonatina op. 137 no. 3 - Schumann R: Phantasiestück op. 73 - Vivaldi: Largo from Winter (The Four Seasons)

The Op.42 Notturno for Viola and Piano is an arrangement of the 1796-97 Serenade in D Op.8 arranged by F. X. Kleinheinz (with Beethoven's approval) for Viola and Piano. The piece is comprised of seven shortmovements. The first is a simple march while the second is an Adagio. The ensuing minuet is attractive and proves to be an interlude between two Adagios of which the second alternates effectively with a contrastingAllegro molto Scherzo section. There follows an attractive Polonaise and a theme-and-variations marked Andante. A reprise of the opening march concludes the work. Overall it is a delightful minor compositionin Beethoven's vast output.

Piano-Classical Real Repertoire edited by Christine Brown for Piano. Intermediate level. Titles:Adagio from Sonata in C Hob. XVI/35 (Haydn) Adagio from Sonata in E flat K. 282 (Mozart) Allegro burlesco from Sonatina in A minor Op. 88 No. 3 (Kuhlau) Allegro from Viennese Sonatina in A No. 2 (Mozart) Bagatelle in D Op. 33 No. 6 (Beethoven) Bagatelle in E flat Op. 33 No. 1 (Beethoven) Finale from Sonata in D Hob. XVI/37 (Haydn) Menuet from Sonata in B minor Hob. XVI/32 (Haydn) Minuet in D K. 355/576b (Mozart) Moment Musical in F minor Op.94 No. 3 (Schubert) Rondo from Sonatina in G Op. 20 No. 1 (Dussek) Scherzando from Sonatina in D WoO 47/3 (Beethoven) Scherzo in B flat D. 593/1 (Schubert) To Alexis (Hummel) Un Poco andante from Sonata in D Op. 25 No. 6 (Clementi).

Bassoon Duets: Volume 1 is part of the Chester Woodwind Series of Graded pieces. Edited by distinguished English bassoonist and musicologist William Waterhouse this collection of 15 duets includes awide variety of pieces from great composers such as Mendelssohn Bellini and Hofmann. With the exception of numbers 9 and 11 (which are arrangements) all these Bassoon duets are original. Metronome and breath marks have beenadded where necessary but with a few exceptions the editor has refrained from adding dynamic and articulation marks. Suitable for intermediate players.The pieces span over 3 centuries (17-19th) and include:Adagio (Gebauer) Adagio Sostenuto (Jacobi) Air (Blow) Andante (Schobert) Andante (Weissenborn) Andantino (Dotzauer) Cavatina (Bellini) Entry Of TheMechanicals (Mendelssohn) Gratioso (Ozi) Menuetto (Gebauer) Moderato (Jancourt) Scherzo (Almenrader) Tambourin (Boismortier) Tempo Di Menuetto (Devienne) andVortragsstuck (Hofmann).

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

Du répertoire tous styles en tablatures pour guitare permettant de passer du jazz à la variété, de la variété au classique, en passant par les airs traditionnels du monde entier ou la musique de film. Chaque pièce est accompagnée de commentaires techniques, biographiques et historiques. Livre CD Autres volumes disponibles dans la collection : 2A, 1A. Existe aussi pour le saxophone, la clarinette, le piano, la flûte traversière, le violon et l'accordéon. Ship to my Lou, Bibbidi-bobbidi-boo, Le temps des cerises, Menuet, Fanny, Choral, Pour faire peur à mon chat, Duos complémentaires, Vidalita, Little april Shower, Andantino, When the saints, Le petit âne gris, Torneo, Katioucha, Les chariots de feu, Dans la halle du Roi des montagnes, Béla, Natacha, Ecossaise, El Noy de la mare, Ländler, Air de Julie, Hymne à la joie, Amazing Grace, Norwegian Wood, Confidentiel, Linda Amiga, La marche de Sacco et Vanzetti, Song, Heigh-ho, Etude n°1-Opus 314, Bookends, Rock around the clock, Adagio, Ruelle obscure, Tri, Martolod, Valse, Alouette, Intermezzo, Broken string, Andantino, A whiter shade of pale, A Thumb of Nose, Bourrée divertimento, Ballade des, Dames du Temps Jadis, Melancholy, Yesterday, Marche Turque, Crossroads, Ländler, Allegretto Opus 69, Etude en La, Scherzo, Balade avec Anatole, Valse, Bourrée catablues, Greensleves, Les feuilles mortes, Lady Madonna, Aria , Education sentimentale, Cest si bon

This work which was written shortly after the Trumpet Sonata and the Five Pieces For Piano was first performed by Georgina Dobree and the composer at the 1957 Darmstadt Festival. The score was subsequently lost but wasrediscovered by Kevin Corner in 1983.'This is a dramatic emphatic and at times extravagant piece. The first movement is a Moderato reaching through wide-flung clarinet lines and keen piano gestures to a great climax near theend. Then comes a quick movement a kind of demonic scherzo including a cadenza for the clarinettist. The finale is an Adagio that gradually achieves a sort of simplicity though not before exceedingly testing times for bothplayers.Duration c. 25mins.

Treasury of piano music by great Norwegian composer, including the perennial favorites, Peer Gynt Suites Nos. 1 and 2 and the Holberg Suite, as well as a rich selection of other pieces: Vier Stucke, Op. 1, Humoresker, Op. 6, Sonata in E Minor, Op. 7, and many others. Content : Four Pieces [Vier Stücke], Op. 1 (dedicated to E. F. Wenzel) I. Allegro con leggerezza II. Non Allegro e molto espressivo III. Mazurka IV. Allegretto con moto Poetic Tone-Pictures [Poetiske tonebilleder], Op. 3 (dedicated to Benjamin Feddersen) I. Allegro, ma non troppo II. Allegro cantabile III. Con moto IV. Andante con sentimento V. Allegro moderato VI Allegro scherzando Humoresques [Humoresker], Op. 6 (dedicated to Rikard Nordraak) I. Tempo di Valse II. Tempo di Menuetto ed energico III. Allegretto con grazia IV. Allegro alla burla Sonata in E Minor, Op. 7 (dedicated to Niels W. Gade) Allegro moderato Andante molto Alla Menuetto, ma pocco più lento Finale Concerto in A Minor, Op. 16, Arranged for Solo Piano (dedicated to Edmund Neupert) Allegro molto moderato Adagio Allegro moderato e molto marcato Four Album Leaves [Fire albumblade], Op. 28 (dedicated to Minna Petersen) I. Allegro con moto II. Allegretto espressivo III. Vivace IV. Andantino serioso Two Elegiac Melodies [Zwei elegische Melodien], Op. 34 (dedicated to Heinrich von Herzogenberg; arrangement of a work for string orchestra based on the songs Op. 33, nos. 3 and 2) I. Heart's Wounds [Herzwunden] II. Last Spring [Letzter Frühling] From Holberg's Time [Fra Holbergs tid; Holberg Suite], Op. 40 (dedicated to Erika Lie-Nissen) I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaudon Piano Pieces after His Own Songs [Klavierstücke nach eigenen Liedern] (I), Op. 41 I. Lullaby [Wiegenlied] II. Little Haakon [Klein Haakon] III. I Love Thee [Ich liebe dich] IV. She Is So White [Wenn einst sie lag an meiner Brust/Sie ist so weiss] V. The Princess [Die Prinzessin] VI. To Springtime [An den Lenz] Peer Gynt Suite No. 1, Op. 46 (arrangement of orchestral work) I. Morning Mood [Morgenstimmung] II. Åse's Death [Åses Tod] III. Anitra's Dance [Anitras Tanz] IV. In the Hall of the Mountain King [In der Halle des Bergkönigs] Piano Pieces after His Own Songs [Klavierstücke nach eigenen Liedern] (II), Op. 52 I. A Mother's Grief [Mutterschmerz] II. The First Meeting [Erstes Begegnen] III. The Poet's Heart [Des Dichters Herz] IV. Solvejg's Song [Solvejgs Lied] V. Love [Liebe] VI. The Old Mother [Die alte Mutter] Two Melodies [Zwei Melodien], Op. 53 (dedicated to Franz Neruda; arrangement of a work for string orchestra based on the songs Op. 33, no. 12, and Op. 21, no I. Norwegian [Norwegisch] II. The First Meeting [Erstes Begegnen] Peer Gynt Suite No.2, Op 55 (arrangement of orchestral work) I. Ingrid's Lament [Ingrids Klage] II. Arabian Dance [Arabischer Tanz] III. Peer Gynt's Return Home [Peer Gynts Heimkehr] IV. Solvejg's Song [Solvejgs Lied] Moods [Stimmungen], Op. 73 I. Resignation II. Scherzo-Impromptu III. Night Ride [Natligtridt] IV. Folksong [Folketone] V. Study [Studie] (Hommage à Chopin) VI. Students' Serenade [Studenternes serenade] VII. The Mountaineer's Song [Lual?t] Nordraak's Funeral March [Sörgemarsch over Rikard Nordraak], WoOp. Three Piano Pieces [Drei Klavierstückel], WoOp. I. White Clouds [Hvide skyer] II. Gnomes' Tune [Tusselsl?t] III. The Dance Goes On [Dansen går]

Instrumentation : orchestra Version : study score Contenu : Orchestration / Orchesterbesetzung - Preface / Vorwort - I. Langsam (Adagio)-Allegro con fuoco - II. Nachtmusik. Allegro moderato - III. Scherzo. Schattenhaft - IV. Nachtmusik. Andante amoroso - V. Rondo-Finale Date de parution : 24/03/1986 Nombre de pages : 412 Collection : Eulenburg Miniature Scores Format : ETP small

Ambitious in scale highly original in both content and design these popular works exhibit Brahms’ mastery of the concerto and his role as heir to the classical tradition of Mozart and Beethoven. Both works are marked by drama elegance rich orchestral textures and virtuoso writing for the soloist. Concerto No.1 in D Minor Op. 15 is a mighty work featuring a theatrically powerful first movement a tranquil adagio and a spirited finale. Concerto No.2 in B-flat Op. 83 is a majestic piece that includes a notable departure from the classical tradition: the addition of a scherzo between the opening movement and the andante. Both worksappear here in authoritative two-Piano editions featuring the solo part together with an orchestral reduction for second Piano the standard format for learning and practice. In addition this volume offers pianists the convenience and economy of two major concertos in a single edition.

Contents are: Adagio (from Quartet No. 10 ) * Allegretto (from Quartet No. 7 ) * Allegretto (from Quartet No. 13 ) * Allegro (from Quartet No. 2 ) * Allegro (from Quartet No. 6 ) * Allegro (from Quartet No. 8 ) * Andante (from Quartet No. 1 ) * Andante (from Quartet No. 4 ) * Andante (from Quartet No. 6 ) * Andante (from Quartet No. 13 ) * Menuetto (from Quartet No. 1 ) * Menuetto (from Quartet No. 3 ) * Menuetto (from Quartet No. 4 ) * Menuetto (from Quartet No. 9 ) * Presto (from Quartet No. 7 ) * Scherzo (from Quartet No. 15 ).