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Fear Thou Not : English

The Spectre's Bride Op. 69 : Balada na text Karla Jaromíra Erbena

The Childhood of Christ op. 25 Hol. 130 : French/English

Don Giovanni K.527 : Dramma giocoso in two acts

Vespro Della Beata Vergine 'Marienvesper'

Vespro Della Beata Vergine 'Marienvesper' : Viola 2

Vespro Della Beata Vergine 'Marienvesper' : Violin 2

Vespro Della Beata Vergine 'Marienvesper' : Cello, Double Bass

Vespro Della Beata Vergine 'Marienvesper' : Set of Woodwind Instruments

Vespro Della Beata Vergine 'Marienvesper' : Basso Continuo

Vespro Della Beata Vergine 'Marienvesper' : Viola 3

Vespro Della Beata Vergine 'Marienvesper' : Violin 3

Vespro Della Beata Vergine 'Marienvesper' : Violin 1

Vespro Della Beata Vergine 'Marienvesper' : Viola 1

Rodrigo Hwv5

Maria (IV) : Swedish/English

Les Paladins RCT 51 : Comédie-ballet in three Acts

Les Paladins RCT 51 : Comédie-ballet in three Acts

This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau. It comes with a vocal score for study and rehearsals as well as with a compilation of the purely instrumental parts for performance as a suitein the concert hall.In view of the wealth of the work’s musical treasures and the stylistic innovations similar to the “Boréades” the rather frosty reception of the premiere series in the spring of 1760 seems completelyincomprehensible to us today. It led to this Comédie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et despierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones: and lastbut not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opéra.The critical new edition published as part of the “Opera omnia Rameau” series offers the final version,supplemented in the appendix by the variants of the original version. Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work.It satisfies both scholarly demand and the practical needs of musicians.

SEK 664.00
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Ode a la Musique

Ode a la Musique

Ode à la Musique (1961)for Baritone, 4-part mixed chorus, trumpet, two horns, three trombones, piano and double bass Frank Martin (1890-1974) Frank Martin was born in Geneva, Switzerland, on 15September 1890. He was the tenth and youngest child of a clergyman’s family. He played and improvised on the piano even before he went to school. By the age of nine he had composed charming children’s songs thatwere perfectly balanced without ever having been taught musical forms or harmony. A performance of Bach’s St. Matthew Passion, heard at the age of twelve, left a lasting impression on the composer, for whom J.S. Bachremainedthe true master. He attended classical languages high school and, to please his parents, went on to study mathematics and physics at the University of Geneva for two years. Simultaneously he started studying piano andcomposition with Joseph Lauber, who initiated him in the “craft”, especially in instrumentation. Between 1918 and 1926 Frank Martin lived in Zurich, Rome and Paris, working on his own, searching for a personal musicallanguage. In 1926 he founded the “Société de Musique de Chambre de Genève” which he led as pianist and harpsichord player for ten years. He taught improvisation and theory of rhythm at the“Institut Jacques-Dalcroze” and chamber music at the Geneva Conservatory of Music. He was artistic director of the “Technicum Moderne de Musique” from 1933 to 1940 and president of the Swiss Association ofMusicians between 1942 and 1946. In 1932 he became interested in the 12-tone technique of Arnold Schönberg. He incorporated certain elements into his own musical language, creating a synthesis of the chromatic andtwelve-tone techniques, without however abandoning the sense of tone – that is, the hierarchical relations between notes. Le Vin Herbé (1941) was the first important work in which he completely mastered this verypersonal idiom. Together with the Petite Symphonie Concertante (1944-45) it established his international reputation. Martin’s many musical activities in Switzerland interfered with the peace and

SEK 255.00
1

In the Light of God

In the Light of God

“I asked my friend, the poet Einar Askestad, if he could write a poem for me about love between father and son, brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I havetried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece, various aspects of these relationships are conveyed”. - MårtenJanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led peopletodescribe my music as both “so sad that it sounds like birds who have lost their wings” and “the happiest classical music we ever heard”. I have also always preferred beautiful music to atonal music and that is surely the reasonwhy the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that’s bubbling over with joy! My compositions consist of almost only sacral music. This is to express myown faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until wedecided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not somany are lucky enough to have.I work as a voice, music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and aMFA in Music Education, and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

SEK 170.00
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