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Palaestra 64 pro Organo

Pro and Contra Dances

Oboe Quartet in F K.370 : arranged for Oboe and Piano

The Oboe Quartet in F major, K. 370/368b, was written by Wolfgang Amadeus Mozart in early 1781. The quartet, originally arranged for oboe, violin, viola and cello is presented in this edition for Oboe with Pianoaccompaniment. In 1780, Mozart was invited to Munich to visit Elector Karl Theodor, who had commissioned the opera Idomeneo for a carnival celebration. While in Munich, Mozart renewed an acquaintance with Friedrich Ramm, avirtuoso oboist in the Munich orchestra. It was for Ramm that Mozart composed the quartet in order to show off his virtuosity and the improvements that had been made to the oboe at that time. One way that this piece showed offtheinstrument was the use of the 'high F' above the staff, a note rarely played in any repertoire previously written for the oboe. This piece is a work of chamber music, but it has elements that harken to other musicalgenres, and requires a fair amount of virtuosity. Because of its large amount of virtuosic playing on the part of the oboe and the large degree to which the strings simply accompany the oboist, it almost resembles a concerto, butwith only with four players instead of an entire orchestra. Despite this, there are also a number of places within the work that require ensemble playing, for example, the famous 13-bar passage in the finale in which the oboeplays in common time against a 6/8 accompaniment.

80 Choralvorspiele deutscher Meister d. 17. u. 18. : Jahrhunderts - of the 17th and 18th century - zum gottesdienstlichen Gebrauch

80 Chorale Preludes by German Masters of the 17th and 18th Centuries, edited by Hermann Keller.Most do not require use of the Pedals.'This selection of shorter and easier chorale preludes is designed tosupplement Karl Straube's '45 Chorale Preludes of the Old Masters' (EP3048), especially for use in church. We therefore selected only those pieces which can be used today - transposed, where necessary, to more suitable keys. Inthe case of important chorales, several treatments were included, sometimes in more than one key. Musical value was the primary factor of selection, but, where possible, preferance was given to compositions not generallyavailableelsewhere. Of the 80 pieces, 24 require the pedals; 33 do not use them; in 23, they are optional. Thus the collection offers rich material for organists at all stages of development.' (Hermann Keller, Stuttgart, September1937).

Musical Souvenirs for Piano

Specially produced in association with the Beethoven-Haus Bonn for the 250th Anniversary of Ludwig van Beethoven’s birth, this souvenir collection of some of his most famous pieces and movements allows us to rediscover the joy of experiencing the full range of his music in the home and through our fingers, just as millions of amateur musicians got to know and love this music in the days before recordings. The volume contains original works for piano, such as the ever-popular Für Elise, and expert arrangements of orchestral movements, such as the first movement of the Fifth Symphony and the Ode to Joy from the Ninth Symphony. Beautifully illustrated, and with introductions to all pieces, this handsome book comes in a practical landscape format. Edition Peters enjoyed a close working relationship with Beethoven, as the original publisher of his First Symphony among other works. The book also tells the fascinating story of the connection between Edition Peters and the most famous portrait of Beethoven by Joseph Karl Stieler.

Chanson de matin- Chanson de nuit

In the earlier part of Elgar's career as a composer, he wrote several short pieces which became very popular. Chanson de Nuit and Chanson de Matin both carried his name far and wide before he composed hislarger orchestral works. These two pieces, which, together, complete Op.15, were published in several versions at once: for string orchestra, for small orchestra, for violin and piano and so on - so it is almost impossible to say,with any degree of certainty, which was the original version. However Elgar himself was a good violinist and so it may well be that he would have played this tune through to himself on the violin, before adding a piano partandsending it off to his publishers for their consideration. In any event, it remains a beautiful theme of considerable character and style.This Urtext edition provides you with an accurate representation of thecomposer’s original intentions and thoroughly detailed editorial marking and suggestions, with commentary, as edited by Donald Burrows.This is the version for Solo Violin with Piano Accompaniment. The solo violinpart is also included on a separate insert.