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Classic Hits for 2 Flutes

Classic Hits for 2 Flutes

This edition includes a wealth of Classical and Romantic melodies in arrangements for two flutes.These arrangements stem from the 19th century and are by Ernesto Köhler, Louis Drouet, Wilhelm Popp, Anton BernhardFürstenau and others. Where necessary, the works have been transposed into a more suitable key and range for the flute. Due to the moderate difficulty they are well suited for teaching purposes.The duets are based onmelodies by Mozart, Weber, Haydn, Gluck, Beethoven, Schubert, Schumann, Mendelssohn Bartholdy, Chopin, and others.From the contents: Carl Maria von Weber, “Barcarole” / Wolfgang Amadeus Mozart, “Das klingetsoherrlich” / Robert Schumann, “Träumerei” / Ludwig van Beethoven, “Rondo-Thema” (“Pathétique”) / Frédérik Chopin, “Mazurka” and many more The editorsWeinzierl and Wächter perform together as the “MünchnerFlötenduo”. They actively develop and promote the combination of two flutes by means of concerts, recordings, courses and the publication of music.

SEK 250.00
1

Six Easy Sonatas for Piano

Six Easy Sonatas for Piano

Leopold Koželuch (also Koželuh) was among the leading musical figures of 18th-century Vienna, well-known in his day as an excellent pianist and piano teacher.Six delightful sonatas have been selected from the complete edition of his piano sonatas published by Bärenreiter – namely the easiest, as this album is specifically aimed at beginner and moderately advanced pianists. The edition includes Piano Sonatas No. 37 in G major, No. 47 in E-flat major, No. 7 in D major, No. 46 in C major, No. 10 in F major and No. 14 in G major, inviting pianists to explore the piano music of the Viennese Classic.

SEK 213.00
1

Missa brevis in F major K.192

Missa brevis in F major K.192

The autograph of the Missa brevis K.192 (186f), known as the Little Credo Mass (because of the Credo calls interspersed in the text of the third movement), is dated Salzburg, 24 June 1774. This Mass, intended for Sundays andminor feasts, was in any case written for Salzburg Cathedral, in the archives of which is preserved an authentic set of parts, containing markings by Mozart and his father. When the master journeyed to Paris in 1777, he took theautograph of this work along with him, leaving it with the canons of Heilig Geist Kloster in Augsburg to have parts copied out.According to Abert, (who wrote a classic biography of Mozart) this work is considered 'by manytobe the high point of Mozart's 'youthful Masses'', and, 'as far as the motivic unity of the individual movements and the strengthening of the contrapuntal element is concerned, goes far beyond everything composedhitherto'.Urtext of the New Mozart EditionFull score, performance material (BA4770) and vocal score (BA4770-90) available for sale.

SEK 250.00
1

Missa brevis in F major K.192

Missa brevis in F major K.192

The autograph of the Missa brevis K.192 (186f), known as the Little Credo Mass (because of the Credo calls interspersed in the text of the third movement), is dated Salzburg, 24 June 1774. This Mass, intended for Sundays andminor feasts, was in any case written for Salzburg Cathedral, in the archives of which is preserved an authentic set of parts, containing markings by Mozart and his father. When the master journeyed to Paris in 1777, he took theautograph of this work along with him, leaving it with the canons of Heilig Geist Kloster in Augsburg to have parts copied out.According to Abert, (who wrote a classic biography of Mozart) this work is considered 'by manytobe the high point of Mozart's 'youthful Masses'', and, 'as far as the motivic unity of the individual movements and the strengthening of the contrapuntal element is concerned, goes far beyond everything composedhitherto'.Urtext of the New Mozart EditionFull score, performance material (BA4770) and vocal score (BA4770-90) available for sale.

SEK 224.00
1

Missa brevis in F major K.192

Missa brevis in F major K.192

The autograph of the Missa brevis K.192 (186f), known as the Little Credo Mass (because of the Credo calls interspersed in the text of the third movement), is dated Salzburg, 24 June 1774. This Mass, intended for Sundays andminor feasts, was in any case written for Salzburg Cathedral, in the archives of which is preserved an authentic set of parts, containing markings by Mozart and his father. When the master journeyed to Paris in 1777, he took theautograph of this work along with him, leaving it with the canons of Heilig Geist Kloster in Augsburg to have parts copied out.According to Abert, (who wrote a classic biography of Mozart) this work is considered 'by manytobe the high point of Mozart's 'youthful Masses'', and, 'as far as the motivic unity of the individual movements and the strengthening of the contrapuntal element is concerned, goes far beyond everything composedhitherto'.Urtext of the New Mozart EditionFull score, performance material (BA4770) and vocal score (BA4770-90) available for sale.

SEK 192.00
1

Pieces De Clavin : Second Livre Für Cembalo

Pieces De Clavin : Second Livre Für Cembalo

Edited by Denis HerlinWith notes on performance practiceOnce again the French musicologist Denis Herlin, who mastered the harpsichord under the tutelage of such keyboard legends as Kenneth Gilbert and HuguetteDreyfus, has presented an exemplary edition of a classic from the harpsichord repertoire.’Bärenreiter presents Book II of Couperin’s “Pièces de clavecin”, first published in 1717. In addition the eight preludes and oneallemande from his treatise “L’Art de toucher le clavecin” are included in the appendix. For the first time Denis Herlin has evaluated the many later impressions of the original print, most of which he unearthed himselfininternational libraries. By preserving the essential features of the original print while largely dispensing with disruptive page-turns within the pieces, the volume brings modern performers close to the special sound of thismusic. Rounding off this pioneering new edition are an extensive Foreword, notes on historical performance practice, a comprehensive glossary, facsimile pages and a detailed Critical Commentary.Pioneering editionwith the first-time evaluation of an extensive body of sourcesIncludes Couperin’s original expression markswith 8 Préludes and 1 Allemande from 'L'Art de toucher le clavecin' (1716 1717)

SEK 632.00
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
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