Suite G Major (Recorder)

Score with lightly realised (and figured) Basso Continuo and 3 parts (Treble Recorder I II Basso Continuo)Giuseppe Sammartini (1695-1750) was already famous as an oboist in Italy before distinguishing himself in England as a composer and virtuoso.In this edition we have transposed his Trio Sonatas for two Flutes or Violins to a range ideally suited to the Treble Recorder.The work was popular during Sammartini's lifetime and stands out because of its melodic richness and imaginative treatment of counterpoint and harmony.

Par SUZUKI SHINICHI. Recorder performed by Marion Verbruggen, Viola da gamba performed by Mary Springfels, Harpsichord performed by Arthur Haas. Siciliana from Sonata in F Major (Alto key) (III) (G. F. Handel) * Bourree from Fireworks Suite (G. F. Handel) * Passapied from Melpomene Suite (K. Fischer) * Adagio from Sonata in A Minor (Alto key) (III) (G. F. Handel) * Presto from Sonata in G Minor (Alto key) (IV) (G. F. Handel) * Larghetto from Sonata in G Minor (Alto key) (I) (G. F. Handel) * Allegro from Sonata No. 1 (IV) (R. Valentini) * Giga/Allegro from Sonata in F Major (Alto key) (IV) (G. F. Handel) * Minuet (E. C. Jacquet de La Guerre) * Rondeau (E. C. Jacquet de La Guerre) * Larghetto fromSonata in C Major (I) (G. F. Handel) * Tempo di Gavotti from Sonata in C Major (IV) (G. F. Handel) * Allegro from Sonata in F Major (II) (G. F. Handel) * Rondeau from Suite No. 2 in D Minor (J. S. Bach) * Sarabande from Suite No 2 in D Minor (J. S. Bach) * Bourree I and II from Suite No. 2 in D Minor (J. S. Bach)./ Accessoire / Flûte à Bec Alto

12 Pieces For Descant Recorder And Keyboard. Par PURCELL HENRY. Henry Purcell est devenu un compositeur prolifique de plus en plus de la musique de scène pour le théâtre dans les années 1680 fin et les années 1690. Gwilym Beechey, suite à son premier et deuxième Sets de théâtre Tunes (ED 12232, ED 12294) a habilement sélectionnés et arrangé 12 de ces oeuvres de théâtre pour le lecteur enregistreur de descant intermédiaire. Pièces comprennent un Rondeau, Borees, Hornpipes, Airs et un mars composée comme musique de scène pour les pièces de la mariée Beau (1694), Bonduca (1695), The Double Dealer (1693), The Gordion Knot délier serait (1691), The Rival Sisters (1695) et l'épouse vertueux (1694)./ Répertoire / Flûte à Bec Soprano et Piano

Duets for Fun contient des compositions originales de la Renaissance, du Baroque et de la musique moderne. Le volume s?adresse aux flûtistes possédant déjà les bases de l?instrument.
En tant que répertoire complémentaire, les pièces permettent de se familiariser avec les style et l?interprétation de chaque époque. Tous les aspects du jeu en duo sont abordés, comme par exemple l?intonation.
Ces pièces sont également parfaitement adaptées à des concerts, des auditions et des concours.
Édition pour flûte à bec soprano : ED 23017
Édition pour flûte à bec alto : ED 23018
T. Morley: Il Lamento
Anonymous: Duo quatro tono
J.B. Loeillet de Gant: Sonata A minor (Adagio
Allegro
Adagio
Giga)
M. Corrette: Suite G Major, op. 5/3 (La aysanne. Gayment
Gigue
Courante
Sarabande
Menuet I, II, III)
W. Croft: Sonata II F Major (Allegro
Adagio
Allegro)
J.-J. Mouret: Sonata IV (Lentement
Fugue
Sarabande
Gai)
R. Valentine: Sonata F Major, op. 6/2 (Vivace
Sarabanda
Gavotta
Giga)
J. Bodin de Boismortier: Suite III C Major (Ouverture
Muzette
Viele
Menuet
Sarabande
Contredance I, II)
P. Delavigne: Le Chévre-Feuille
P. Delavigne: Les Giroflées
P. Delavigne: La Tulipe
G.P. Telemann: Sonata in B Major Affettuoso
Allegro
Andante
Presto)
G. Finger: Sonata C Major (Poco Largo
Vivace
Grave
Presto)
G.P. Telemann: Canonical Sonata No. 5 (Vivace
Cantabile
Scherzando)
H. Genzmer: Vivace e giocoso
H. Genzmer: Tranquillo
H. Genzmer: Comodo
K. v. Steenhoven: Minimal Dream Wawes
K. v. Steenhoven: Cubafluta / Partitions classique / Bois / Flûte à bec / SCHOTT

Par PETZ JOHANN CHRISTOPH. Suite #2 C Major/ Répertoire / 2 Flûtes à Bec Alto et Basse Continue Violoncelle

for Descant(Soprano) Recorder and Basso Cont.-These wonderful editions from Dowani come with CDs with the continuo accompaniment at three different speeds to allow players to play along at a tempo which suits their level of playing.

Boismortier - Suite No.1 in E minor; Dieupart - Suite No.4 in E minor; Loeillet - Sonate Op.3 No.1 in C major (for recorder and continuo)

Par BACH JOHANN-SEBASTIAN. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument./ Répertoire / Clarinette Basse Solo

The première of Daudet's play L'Arlésienne with incidental music by Bizet at the Théâtre du Vaudeville on 30 September 1872 was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber however was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion for the première of the first Arlésienne suitetook place only six weeks later at the Concerts populaires on 10 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Thus before his death in June 1875 Bizet had the satisfaction that his suite from L'Arlésienne was played by all the major concert societies in Paris and it has remained firmly in the concert and recorded repertoire ever since.

Offering insightful interpretive suggestions, pertinent fingering and historical and stylistic commentary, the Schirmer Performance Editions series is designed for Piano students and teachers, as well as professional pianists.This volume contains 20 pieces by 12 composers, including C. P. E. Bach, Blow, F. Couperin, Daquin, Duncombe, Handel, Pachelbel, Petzold, A. Scarlatti, D. Scarlatti and Telemann.Complete with online access to recorded performances, this book provides the early intermediate level pianist with a newly-engraved collection of pieces from the Baroque Era, accompanied by historical notes and performance suggestions. / Piano

Instrumentation : Orchestra Version : study score Description : The première of Daudet's play, L'Arlésienne, with incidental music by Bizet, at the Théâtre du Vaudeville on 3 September 1872, was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber, however, was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion, for the première of the first Arlésienne suite took place only six weeks later at the Concerts populaires on 1 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Thus, before his death in June 1875, Bizet had the satisfaction that his suite from L'Arlésienne was played by all the major concert societies in Paris and it has remained firmly in the concert and recorded repertoire ever since. Contenu : Preface - Editorial Notes - Vorwort - Revisionsbericht - Préface - Notes éditoriales - Textual Notes - Orchestration/Orchesterbesetzung/Instrumentation - I. Prélude - II. Minuetto - III. Adagietto - IV. Carillon Nombre de pages : 100 Collection : Eulenburg Miniature Scores Format : ETP small

14 Popular Works-14 popular works for Flute with Piano accompaniment featuring selected works from the major exam board syllabuses spanning Grades 5 to 8 and beyond. Includes pull-out part and performance notes by Trevor Wye.

(2CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8659 / Flûte Ou Piccolo

Easy to Intermediate Level / G. Schirmer Instrumental Library-An ideal collection for a student performing in a contest or recital for the first time. Contents: Gavotte from the French Suite No. 5 BWV 816 (J.S. Bach) · Minuet from the Notebook for Anna MagdalenaBach (J.S. Bach) · Scotch Dance WoO 23 (Beethoven) · Sonatina (Beethoven) · Aria of the Shepherd from La liberazione de Ruggiero (Caccini) · Berceuse from the DollySuite (Fauré) · Tambourine from Iphigénie en Aulide (Gluck) · Allegro from the String Quartet in F Major Op. 74 No. 2 (Haydn) · Minuet from the Symphony No. 89 in FMajor (Haydn) · The Entertainer (Joplin) · Musette (Leclair) · Andante Espressivo Op. 58 No. 1 (Mendelssohn) · Gymnopédie (Satie) ·Andantino (Schubert) · Minuet (Schubert) · Romanze Op. 94 (Schumann). The book also includes access to online audio recordings of Piano accompaniments for each piece for download orstreaming.