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MUSSORGSKY PICTURES AT AN EXHIBITION (ARR GRUSELLE CL) STR ORCH SC/PTS

MUSSORGSKY PICTURES AT AN EXHIBITION (ARR GRUSELLE CL) STR ORCH SC/PTS

Mozart-Jahrbuch 1989/90 -

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Hercules ds590b kontrabasställ

Stativ för kontrabas i stabil vadderad stålkonstruktion. Vikt: 3,4 kg Höjd: 90 cm

Sant Guitars CL-50-BK Spansk gitarr svart

God junior spansk/klassisk guitar - Børnestørrelse (30'') Passer til børn under 7 år Guitaren er pæn og har en klar lyd, og er et godt begynder-instrument Vi anbefaler denne til mindre børn, pga guitarens lille størrelse og bløde strenge More Information Included items    Gigbag, Picks Size    1/2 Top    Laminat Solid top    No Sides    Laminat Back    Laminat Finish    Gloss Fretboard    Anticorrosive wood Built in preamp    No Nut width    44 mm Number of frets    18 Rosette    Yes Tuner    No Cutaway    No Case/gigbag    Gigbag

Sant Guitars CL-50-NA Spansk gitarr naturlig

God junior spansk/klassisk guitar - Børnestørrelse (30'') Passer til børn under 7 år Guitaren er pæn og har en klar lyd, og er et godt begynder-instrument Vi anbefaler denne til mindre børn, pga guitarens lille størrelse og bløde strenge More Information Included items    Gigbag, Picks Size    1/2 Top    Laminat Solid top    No Sides    Laminat Back    Laminat Finish    Gloss Fretboard    Anticorrosive wood Built in preamp    No Nut width    44 mm Number of frets    18 Rosette    Yes Tuner    No Cutaway    No Case/gigbag    Gigbag

Rosing Schow Equinoxe N Sc Fl/Ob/Cl+

Super Hits Of The 90's

Super Hits Of The 90's

Super Hits Of The 90's

Nonetto Fl-Hb-Cl-Sax-Fg-Hp-Celesta-Pno-Batt.

Tristan und Isolde WWV 90 : Handlung in 3 Aufzugen - Erster Aufzug

Die Stücke der Windrose: Südwesten : cl, perc, pf, harm [2 players], 2 vln, vla, vc, db

Die Stücke der Windrose: Norden : cl, perc, pf, harm [2 players], 2 vln, vla, vc, db

Die Stücke der Windrose: Westen : cl, perc, pf, harm [2 players], 2 vln, vla, vc, db

Creation Mass in B-flat Major Hob.XXII : Creation Mass

Creation Mass in B-flat major Hob.XXII:13The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate inEisenstadt, on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve'sduet in his oratorio The Creation.- Full score (BA4656-01), performance material (BA4656) and vocal score (BA4656-90) available for sale- Urtext from Joseph Haydn Werke, G. Henle Verlag

Vidda : Solo for Trumpet and Brass Band

I composed the song "Vidda" after I got my ultimate boy's dream fulfilled; To fly one of the Air Force's F-16 fighter jets! We flew out from Norwegian city Bodø on to the Finnmark plateau, where we flew so-called "low level" (at low altitude). It was such a great experience for me that I immediately wrote the song "Vidda" based on my experience of the trip. Here, I try to describe the meeting between the technical perfection of a machine that surpasses most of the various forces in it’s escape through the magnificent scenery passing at great speed, and the pilot who is alone with both the adventure and responsibility. The drums which start the song is meant to describes theenergy in the power of the plane, while the lonely and kind of melancholy melody from the trumpet in the beginning describes the feelings of the pilot. As the song develop, we pass both the mountains and big beautiful plateaus with g-forces quivering body. Hopefully you will share some of my experiences through this song. Have a nice flight! Ole Edvard Antonsen I composed the song "Vidda" after I got my ultimate boy's dream fulfilled; To fly one of the Air Force's F-16 fighter jets! We flew out from Norwegian city Bodø on to the Finnmark plateau, where we flew so-called "low level" (at low altitude). It was such a great experience for me that I immediately wrote the song "Vidda" based on my experience of the trip. Here, I try to describe the meeting between the technical perfection of a machine that surpasses most of the various forces in it’s escape through the magnificent scenery passing at great speed, and the pilot who is alone with both the adventure and responsibility. The drums which start the song is meant to describes theenergy in the power of the plane, while the lonely and kind of melancholy melody from the trumpet in the beginning describes the feelings of the pilot. As the song develop, we pass both the mountains and big beautiful plateaus with g-forces quivering body. Hopefully you will share some of my experiences through this song. Have a nice flight! Ole Edvard Antonsen

Claude Debussy: Fourteen Preludes (Score)

Ensemble1 Flute in C db. Alto Flute in G and Piccolo1 Clarinet in A and Bb(1 Contrabass Cl. in Bb *)1 Bassoon (db. Contra Bassoon *)1 Trumpet in BbHarp1 Violin1 Viola1 VioloncelloThe score is written in transposition*) The part of the Contrabass Clarinet should be the first choice. However, if aplayer/instrument is not available, the part may be performed on the ContraBassoon.The part of the Contrabass Clarinet was initially performed by the Bassoonplayer of the Danish Chamber Players.Thus, the Cb.Cl./Cfg. does not playsimultaneously with the Bassoon.The three Prelude-arrangements (No. 1-5, 2-1, 2-2) that uses the ContrabassClarinet incorporate the alternative part for Contra Bassoon in the performancematerial.The alternative scores with Contra Bassoon are included in an appendix at theend of the score.The arranger suggests that the Preludes are played without conductor.

Christmas Oratorio BWV 248

Bach’s Christmas Oratorio, composed in 1734, narrates the story of the birth of Jesus in a cycle of six cantatas with a text probably by Christian Friedrich Henrici (known as Picander) who providedseveral libretti for Bach during his Leipzig period.Like the St. Matthew and St. John Passions, the Christmas Oratorio is narrated by an Evangelist and includes devices from Italian opera such asthe recitative and aria. It was written to be performed during the thirteen days of Christmas of the Lutheran Church calendar (25 December 6 January) allowing the wondrous story of the Gospel to gradually unfold.-Fullscore and performance material (BA5014), vocal score (BA5014-90) and study score (TP85) available for sale.- Urtext of the New Bach Edition.

The Seasons Hob.XXI : Oratorio

Joseph Haydn’s oratorio ‘The Seasons’ was composed directly after the first successful performances of ‘The Creation’.‘The Seasons’ has however been greatly overshadowed by ‘TheCreation’ for a long time and yet this work has far greater changes of style between popular Singspiel and great oratorio than ‘The Creation’. ‘The Seasons’ continues to impress and remains part of the corerepertoire to the present with its overwhelming richness of musical character and its immense formal variety. Scarcely another oratorio is able to so captivate an audience with such variety.- Urtext edition fromtheComplete Edition ‘ Joseph Haydn Works’, published by G. Henle Verlag , Munich.- Duration: approx. 140 minutes.- Full score & parts (BA4647) & vocal score (BA4647-90) available for sale.

Christmas Oratorio BWV 248 : Set of Wind Parts

Bach’s Christmas Oratorio, composed in 1734, narrates the story of the birth of Jesus in a cycle of six cantatas with a text probably by Christian Friedrich Henrici (known as Picander) who providedseveral libretti for Bach during his Leipzig period.Like the St. Matthew and St. John Passions, the Christmas Oratorio is narrated by an Evangelist and includes devices from Italian opera such asthe recitative and aria. It was written to be performed during the thirteen days of Christmas of the Lutheran Church calendar (25 December 6 January) allowing the wondrous story of the Gospel to gradually unfold.-Fullscore and performance material (BA5014), vocal score (BA5014-90) and study score (TP85) available for sale.- Urtext of the New Bach Edition.

St Matthew Passion BWV 244

Version of 1736 (final version)Bach’s St. Matthew Passion passed through several stages in its progress towards its final form, stages that today cannot be completely reconstructed. It may betaken as certain that the work was performed on Good Friday 1729 in St. Thomas’s Church, Leipzig, in a version of which the copy made by Bach’s son-in-law Johann Christoph Altnickol gives us an approximate idea. There isno earlier extant autograph score than that of the later version, which may probably be dated 1736, and on which the present edition is based.- Study score format 22.5 x 16.5cm- Urtext of the New BachEdition-Full score, performance material (BA5038), vocal score (BA5038-90) and study score (TP196) available for sale

St Matthew Passion BWV 244 : Wind set, Urtext edition

Version of 1736 (final version)Bach’s St. Matthew Passion passed through several stages in its progress towards its final form, stages that today cannot be completely reconstructed. It may betaken as certain that the work was performed on Good Friday 1729 in St. Thomas’s Church, Leipzig, in a version of which the copy made by Bach’s son-in-law Johann Christoph Altnickol gives us an approximate idea. There isno earlier extant autograph score than that of the later version, which may probably be dated 1736, and on which the present edition is based.- Study score format 22.5 x 16.5cm- Urtext of the New BachEdition-Full score, performance material (BA5038), vocal score (BA5038-90) and study score (TP196) available for sale

Messe Solennelle - Ste Cécile : Ste Cécile

Messe solennelle (Ste Cécile) for Soloists (STB), Choir (SATB), Orchestra and Organ Sacred works occupy a large part of Charles Gounod’s oeuvre. It was the Messe solennelle en l’honneur de SainteCécile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of1856 but also on copyists’ manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being publishedtocelebrate the 200th anniversary of Gounod’s birth. - Gounod’s well-known mass in a new Urtext edition - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Idiomatic piano reduction- Full score and parts (BA8966) and vocal score (BA8966-90) available for sale

Symphonic Variations

This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the "Symphonic Variations" are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J.S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme.

Symphonic Variations

This composition is based on a passacaglia theme, in which artistic perfection, symphonic drama and oriental melody lines play a role. The passacaglia is originally a dance made up of a series of variations above a bass line constantly present as an ostinato. It is not in this sense that the "Symphonic Variations" are in the passacaglia form but in the sense of the open form of the variations. Jacob de Haan, himself originally an organist, took his inspiration for this piece from the famous passacaglia for organ in C-minor by J.S. Bach. Following the introduction of the passacaglia theme (in the bass) the entry by the trumpets and trombones forms the majestic start to amusical adventure, in which this theme (often fragmentary) returns in variations. Then there follow two faster movements with dramatic contrasts and virtuose passages. Particularly striking here is the use of two characteristic intervals from the beginning of the theme namely the minor second and the augmented fourth. An apause in the composition comes in the slow bridge where a syncopated bourdon (perfect fifth) is constantly repeated. The tension grows in dynamics and harmony, and the oriental-flavour becomes obvious in the melody. We arrive at a faster movement via an accelerando, in which a perpetuum mobile based on the passacaglia theme is central. Finally the whole flows into a martial theme, in which the ostinato accompaniment n the descant derives from the passacaglia theme.