Vores kunder ligger øverst på Google

Google Ads Specialister fra Vestjylland

Vi er 100% dedikerede til Google Annoncering – Vi har mange års erfaring med Google Ads og den bruger vi på at opsætte, optimere & vedligeholde vores fantastiske kunders konti.

100% Specialiseret i Google Ads
Vi har mange års erfaring fra +300 konti
Ingen lange bindinger & evighedskontrakter
Jævnlig opfølgning med hver enkelt kunde
Vi tager din virksomhed seriøst
KONTAKT OS
LÆS UDTALELSER & SUCCESHISTORIER

3.694 resultat (0,29902 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Visa alla

Nollställ filter

Produkter
Från
Butiker

Romances In F And G For Violin And Orchestra : for Violin and Orchestra

Romances In F And G For Violin And Orchestra : for Violin and Orchestra

Beethoven’s 'Romances' are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form? The autographscore contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by thecomposer.Bärenreiter’s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven’s autograph with editorial markings clearly indicated, the second score hasbeenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.Barenreiter No.BA9026

SEK 292.00
1

Missa brevis : Kyrie and Gloria

Missa brevis : Kyrie and Gloria

Missa brevis (BuxWV 114) for Mixed choir SSATB and Basso continuoDietrich Buxtehude (1637-1707) was Organist of the St Marien church in Lübeck from 1668 until his death. He wrote many worksfor specific secular occasions, feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings, style and length. Almost all texts aresacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo.The Missa brevis is written in the 'Stile antico' following 16th century models andconsistsof the Kyrie and Gloria of the Ordinarium.

SEK 186.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Symphony No.89 In F Hob. I

Symphony No.89 In F Hob. I

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially.

SEK 122.00
1

Romances In F And G For Violin And Orchestra

Romances In F And G For Violin And Orchestra

Beethoven's 'Romances' are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form? The autographscore contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by thecomposer.Bärenreiter’s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven’s autograph with editorial markings clearly indicated, the second score hasbeenedited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.In addition to theUrtext solo part, a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction.- Piano reduction which includes an Urtext solo part as well as an additional solo part with fingeringand bowing- The score to op. 50 available in two versions- Detailed critical commentary (Eng)Barenreiter no. BA9026A

SEK 192.00
1

Romantic Pieces for Viola and Piano op. 75 : Arrangement for Viola and Piano

Romantic Pieces for Viola and Piano op. 75 : Arrangement for Viola and Piano

“Sooner or later the “Romantic Pieces” will pave their way through all the salons”: thus the periodical Dalibor predicted when the “Romantic Pieces” op. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorák’s most popular works for violin and piano. Now they are being made available for violists also.Bella and Semjon Kalinowsky have arranged the four pieces on the basis of the “Complete Edition of the Works of Antonín Dvorák”. The piano part of the original version remains, while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.With theirentrancing melodies and poetry, these pieces pose few technical challenges and are thus easy to play.

SEK 170.00
1

Toccata and Lament For Organ

Toccata and Lament For Organ

Toccata and Lament was composed on commission in 2008 to inaugurate the large new organ in the Christ Church Cathedral, Rochester, NY, USA. This instrument is a detailed reconstruction of a late Baroque organ of 1776 fromVilnius in Lithuania. The point of departure a clash of contrasting eras and musical cultures on two continents already bodes excitement. Martin Herchenröder, a composer and professor of music theory, has incorporated thesecontrasts in his roughly eight-minute composition. The result is a musical idiom of rare distinction, universal in its musical resources and alternating between tonal triads and extremely dissonant clusters. The heart of thepieceis a dirge which, using the Baroque doctrine of the affections, relates to Eastern European cultural history in and around Vilnius, a history marked by the predations of 20th-Century war.Expressive andeffective contemporary organ musicAmalgam of musical traditions from the 18th to 21st CenturyExplanatory foreword by the composer (Ger/Eng)

SEK 383.00
1

Concerto : for the Left Hand for Piano and Orchestra, Piano reduction and solo part

Concerto : for the Left Hand for Piano and Orchestra, Piano reduction and solo part

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. The piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.

SEK 462.00
1

Motets and Hymns

Motets and Hymns

Faure Motets and Hymns / Messe de l'Association des pêcheurs de Villerville N 60a / Messe basse N 163 / Christmas Song Arrangements This volume of Gabriel Fauré's sacred music is divided into three parts: besides the motets and hymns (17 works), it contains the two well-known harmonisations of French Christmas carols and the two masses, the “Messe basse” (Low mass) of 1907 and the “Messe de l'association des pêcheurs de Villerville”. Also published for the first time is the original 1881 version of the “Messe de pêcheurs”. The genesis of the “Messe de l'association des pêcheurs”, which was composed in Villerville (Normandy) in collaboration with Fauré’s friend André Messager, is the central theme of the introductory text. In addition, Helga Schauerte-Maubouet focuses on the relationship between the characteristics of the choir organ at the church of La Madeleine as well as the composition and performance practice aspects of the motets. A first in this edition is the inclusion of the double bass part in the scores of some of these works. Although this part does not consequently appear in the musical text of the first editions of these motets, it is substantiated by the autographs from the Madeleine church archives. Its integration makes it possible to restore the practice that was common in this church during Fauré’s lifetime. By means of many other details, the new readings of the complete edition finally offer a reliable musical text of jewels such as the “Cantique de Jean Racine”. Urtext edition from the Gabriel Fauré. Œuvres complètes I/4

SEK 2838.00
1

Tzigane : Concert rhapsody for violin and piano

Tzigane : Concert rhapsody for violin and piano

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D’Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D’Aranyi to playnumerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel’s virtuoso classic “Tzigane”. Written originally for violin and piano or luthéal (a mechanisminvented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravellaterorchestrated “Tzigane” and both versions remain a “must” for music-lovers and aspiring violinists today. Jelly D’Aranyi performed both versions regularly throughout her long career. This Urtext edition presents thefirst scholarly-critical edition of Ravel’s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer’s earlier version for violin and piano. Allknown sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of “Tzigane” from the estate of Jelly D’Aranyi, which is today part of a privatecollection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D’Aranyi. D’Aranyi’s alterations and fingering reflect how Ravelmust have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D’Aranyi is comparable to that of Brahms and Joachim working on theBrahms violin concerto.First scholarly-critical Urtext edition of the work Presented are both versions: for violin and orchestra and for violin and pianoIncludes Jelly D’Aranyi’s fingering

SEK 303.00
1

Works for Violin and Piano

Works for Violin and Piano

This edition contains all of Janá ek’s works for Violin and Piano - the Sonata as well as the Romance and Dumka, composed while he was still a student.Though probably written as early as 1914, Janá ek’sSonata for Violin and Piano was revised several times before finally appearing in a definitive version in 1922. This new edition of the Sonata and the Romance is based on the Complete Critical Edition of the Works of Leoš Janá ek(Vol. E/1) with a clearer notation to optimise readability.For the Dumka the editor has drawn on the sole autograph source, the Violin part (still considered lost when the above mentioned Complete Edition volumewaspublished), and the revised version contained therein. Unlike the first edition, it also contains Janá ek’s detailed dynamic markings.Newly engraved edition with notation adapted to conform with modernusage.Revised version of Dumka with original dynamic markings.Foreword by leading Janá ek scholar Alena N mcová (Cz/Eng/Ger)

SEK 340.00
1

Acis and Galatea HWV 49a, 1st Version

Acis and Galatea HWV 49a, 1st Version

Acis and Galatea HWV 49a1st versionHandel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid’s Metamorphoses a total of three times: in the cantataAci, Galatea e Polifemo HWV 72 (1708) (BA4068), the masque Acis and Galatea HWV 49a (1718) (BA4039) and finally the pasticcio-like serenata Acis and Galatea HWV 49b (1732) (BA10700).This species of stage work was related tothe early eighteenth-century English masque by virtue of its choral numbers and straightforward formal design, and to the Italian serenata due to its use of one voice to a part in the choruses. In the England of Handel’sdayit was given a multitude of generic names: besides “masques”, such works were often called “little operas”, “English operas” or “pastoral operas” (the term “serenata”had not yet entered English parlance). Handel himself did not specify the genre of Acis and Galatea in his autograph score, and probably as a result uncertainty arose among copyists, printers and performers as to the work’sproper designation, for it has come down to us with a confusing array of generic titles. Handel wrote the piece for James Brydges (1674–1744), Earl of Carnarvon and later Duke of Chandos, at whose country estate in Cannonsthe composer spent the years 1717 and 1718.- Urtext of the Halle handel Edition- Full score (BA4039) and vocal score (BA4039-90) available for sale- performance material (BA4039-72) available for sale

SEK 383.00
1

Calm Seas And Prosperous Voyage Op.27

Calm Seas And Prosperous Voyage Op.27

Bärenreiter’s critical edition of Felix Mendelssohn Bartholdy’s “symphonic poem” overture Calm Sea and Prosperous Voyage edited by Christopher Hogwood, belongs to ourseries of seven overtures by the 19th century master. Calm Sea and Prosperous Voyage is known today only in the version from 1834 and our new edition offers a critical edition of this version. But unknownto modern ears is an early version with an additional 50 bars of this overture from 1828 which only survives in a manuscript copy from the composer’s estate. Bärenreiter offers for the first time the 1828versionin score and parts followed by the 1834 version in score and parts - A must for every orchestra and library - Includes two versions back to back - Full score & parts (BA9057) available for sale

SEK 727.00
1

Der Harmonische Gottesdienst : Lent and Easter Cantatas

Der Harmonische Gottesdienst : Lent and Easter Cantatas

72 Solo Cantatas for Voice, Melodic Instrument and Basso continuo.Lent & Easter - High Voice.When Telemann issued his first annual cycle of printed cantatas,Der Harmonische Gottesdienst (Hamburg , 1725-6), he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring, the 72 solo cantatas have remained very popularto the present day.These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice.Each series spreads the works overthreevolumes accompanied by separate parts for solo instrument and continuo. The cantatas follow the order of the liturgical year, beginning with the Christmas season and continuing with Easter and Trinity.Beingpractically minded, Telemann arranged the ambitus of the vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’.Similarly, the solo instrumentsare suitable for Violin, Oboe, Recorder or Flute.Interesting solo cantatas for use in church services.Urtext from the Telemann Edition.Separate partsfor instrument and continuo.

SEK 218.00
1