1.824 resultat (0,25358 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Visa alla

Nollställ filter

Produkter
Från
Butiker

I Want To Be A Guitarist

I Want To Be A Guitarist

This children’s album by renowned Czech composer-guitarist Lukáš Sommer reflects the latest trends in playing and teaching the Guitar. It is suitable for the first three years of lessons. Some of the pieces have even been performed by children and young Guitar students at competitions and concerts in Europe.Each of these little programme pieces is written in a different style with brief explanations of its technical features. Several are composed in an open-ended form that allows players to define the rhythm or to add an accompaniment on open bass strings. In this way the author grants leeway to the learners’ creativity and stimulates their musicalimagination.The pieces are easy to play and the edition comes with attractive illustrations.

SEK 218.00
1

Music to Soliman second, ou Les Trois Sultanes : Comédie (Laxenburg 1765)

Music to Soliman second, ou Les Trois Sultanes : Comédie (Laxenburg 1765)

The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg bythe French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print.A popular comedy which in particular was known for its exotic colour, “Solimansecond” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and anaccomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’sinvolvement in incidental music is an exception in his artistic output.In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the sourcematerial, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile.

SEK 1396.00
1

Les Troyens

Les Troyens

Les Troyens - The Trojans: Opera in 5 ActsBerlioz composed Les Troyens towards the end of his life, drawing on Virgil’s epic poem The Aeneid, which he had admired since his childhood. In his Memoirs he recounts how hisfather, a country doctor, read Virgil to him and how the story of Dido’s tragic fate reduced him to tears which he tried hard to conceal.The score was finished in April 1858, but he was unable to persuade the Paris Opera tomount it (his earlier opera Benvenuto Cellini had been a failure there in 1838), and eventually he agreed to allow the last three acts to be performed under the title Les Troyens Carthage. This took place at theThé tre-lyrique,an enterprising but ill-equipped theatre, in November 1863, and although it was much admired, there were no more performances before Berlioz’s death in 1869.In the history of French music, Les Troyens stand out as a grandopera that avoided the shallow glamour of Meyerbeer and Halévy, but therefore paid the price of long neglect. In our own time the opera has finally come to be seen as one of the greatest operas of the 19th century.Thevocal score to “Les Troyens” presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863, Berlioz perceived “Les Troyens ” as one opera. Becauseof performance difficulties, the composition had to be divided into two operas, “La Prise de Troie” and “Les Toyens Carthage”.The vocal score is based on the three-volume New Berlioz Edition and also on the one-volumevocal score edition that under Berlioz’s supervision, was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifthact.Urtext of the New Berlioz EditionFull score (BA5442) and vocal score (BA5442-90) available for salePerformance material (BA5442-72) available for hire

SEK 1130.00
1

Merry Christmas For Strings

Merry Christmas For Strings

Christmas is a joyful time: presents under the tree, seeing friends and relatives, the wonderful smell of cookies and much more. Christmas is also a time for making music. Song and sound play an important role in creating a Christmas atmosphere.Every land and region has its favorite Christmas carols. These are usually played though, for the most part, in the country from which they originate. It is always nice to get to know songs of other places. In this way, we can experience the atmosphere of Christmas as celebrated in other regions.With this edition we invite you to play more music and experience even more the Christmas season.Christmas is a joyful time: presents under the tree, seeing friends and relatives, the wonderful smell of cookies and much more. Christmas is also a time for making music. Song and sound play an important role in creating a Christmas atmosphere.Every land and region has its favorite Christmas carols. These are usually played though, for the most part, in the country from which they originate. It is always nice to get to know songs of other places. In this way, we can experience the atmosphere of Christmas as celebrated in other regions.With this edition we invite you to play more music and experience even more the Christmas season.

SEK 250.00
1

Hradcany Songs : Cycle for womens choir on text by F. S. Procházka

Hradcany Songs : Cycle for womens choir on text by F. S. Procházka

Hradcany SongsCycle for women's choir on texts by F. S. Procházka The first two months of 1916, during wartime, was the only period during which Janacek wrote for female voices alone, thus responding to thesituation of the time when the majority of men had to leave to fight in the war. For the recently established Moravian Female Teachers' Choral Association he wrote, among others, settings of three patriotic poems by FrantisekSerafin Prochazka: Golden Lane (Zlata ulicka), The Weeping Fountain (Placici fontana) and Belvedere(Belveder). They were published under the title Hradcany Songs. The score contains a preface in three languages(Cz./Ger./Eng.).

SEK 175.00
1

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

Konzert In E - Performing Edition : Für Violine und Orchester Op. 64

Konzert In E - Performing Edition : Für Violine und Orchester Op. 64

Mendelssohn’s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the MendelssohnViolin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New sourcesituation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

SEK 303.00
1

Konzert In E : Für Violine und Orchester Op. 64

Konzert In E : Für Violine und Orchester Op. 64

Mendelssohn’s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the MendelssohnViolin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New sourcesituation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

SEK 340.00
1

Performance Practices : In The Violin Concerto Op. 64 and Chamber Music For Strings

Performance Practices : In The Violin Concerto Op. 64 and Chamber Music For Strings

Mendelssohn’s Violin Concerto Op.64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohnperformed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and HubertLéonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for thesoloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was alreadyknown that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorableevening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings andadditional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’scorrespondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.The editor, Clive Brown, is an acknowledgedexpert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger)- Full score in therevised early and late (popular) versions (BA9099) available for sale- Parts of both early and late versions (BA9050) available for sale- Violin & Piano in the revised late (popular) version (BA9099-90)

SEK 228.00
1