Tri-ra-ro, der Sommertag is do!

Rusalka's Song To The Moon

Antonin Dvorak's Rusalka's Song To The Moon for Soprano and Piano accompaniment, as arranged by Karel Solc.

Tri-ra-ro, der Sommertag is do! - Bresgen, Cesar

part(s) Folded

Tri-ra-ro, der Sommertag is do! - Bresgen, Cesar

part(s) Folded

Tri-ra-ro, der Sommertag is do! - Bresgen, Cesar

part(s) Folded

Tri-ra-ro, der Sommertag is do! - Bresgen, Cesar

part(s) Folded

A Taste Of Schubert : For High Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

A Taste Of Schubert : For Medium Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

Two Sonatas RV40 And RV46 : Edition specially prepared for the ABRSM & TRINITY GUILDHALL exam syllabuses

Vivaldi was familiar with the technique and idiomatic qualities of the cello and writing for the cello seems to have drawn from Vivaldi a special empathy: there is a degree of seriousness and expressive depth which isencountered much less consistently in his violin music. Perhaps it has something to do with the cello's low register, since similar qualities inform his writing for bassoon.This Urtext edition, edited by BettinaHoffmann, provides you with a clear and accurate realisation of the composer’s original intentions with thoroughly detailed editorial markings and suggestions. The solo cello part is also included on a separate insert.

Missa in C major K.167 : Trinity Sunday Mass

The Missa in honorem SS:mae Trinitatis K.167 is Mozart's only mass bearing a dedication in its title and the only one written for chorus and orchestra without vocal soloists. We do not know the occasion for which the mass waswritten, although it was undoubtedly related to the dedication. Perhaps it was first performed on Trinity Sunday 1773, since the autograph bears the date Giugno 1773 and Trinity Sunday fell an 5 June that year. The heavy scoring- for two oboes, two clarini, two trombe, timpani, two violins, bass and organ - suggests that the mass owes its origin to a special festivity.Urtext of the New Mozart EditionFull score, performancematerial(BA4783) and vocal score (BA4783-90) available for sale.

Missa in C major K.167 : Trinity Sunday Mass

The Missa in honorem SS:mae Trinitatis K.167 is Mozart's only mass bearing a dedication in its title and the only one written for chorus and orchestra without vocal soloists. We do not know the occasion for which the mass waswritten, although it was undoubtedly related to the dedication. Perhaps it was first performed on Trinity Sunday 1773, since the autograph bears the date Giugno 1773 and Trinity Sunday fell an 5 June that year. The heavy scoring- for two oboes, two clarini, two trombe, timpani, two violins, bass and organ - suggests that the mass owes its origin to a special festivity.Urtext of the New Mozart EditionFull score, performancematerial(BA4783) and vocal score (BA4783-90) available for sale.

Missa in C major K.167 : Trinity Sunday Mass

The Missa in honorem SS:mae Trinitatis K.167 is Mozart's only mass bearing a dedication in its title and the only one written for chorus and orchestra without vocal soloists. We do not know the occasion for which the mass waswritten, although it was undoubtedly related to the dedication. Perhaps it was first performed on Trinity Sunday 1773, since the autograph bears the date Giugno 1773 and Trinity Sunday fell an 5 June that year. The heavy scoring- for two oboes, two clarini, two trombe, timpani, two violins, bass and organ - suggests that the mass owes its origin to a special festivity.Urtext of the New Mozart EditionFull score, performancematerial(BA4783) and vocal score (BA4783-90) available for sale.

Viola Recital Album : First Position - Volume 2

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 4

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 3

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 1

Viola Recital Album Volume 1: 9 Recital Pieces in First Position for Viola and Piano or Two ViolasViola Recital AlbumVolumes 1-4 (BA8990-BA8993)These volumes contain a wide selection of easy recital pieces.They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces are written entirely in first position, they can be used just after a fewmonths of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may be played by the teacher or an advanced student. Alternatively asecondviola part allows duet playing with the teacher during lessons. The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start on the Viola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces inVolume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowingtechniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound.New pieces to supplement the SassmannshausViola methodAll pieces in first positionInclude an additional viola part for duet version and a piano accompaniment

Symphony No. 3 C minor Op. 78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78, dedicated to the memory ofFranz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of thesymphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No.3 marks the launch of a large-scale project:thepublication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.First scholarly-critical edition of thisfamous symphony based on Camille Saint-Saëns Complete Edition of the Instrumental WorksNow with separate parts for all windsOrchestral parts in a large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78 - Organ

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony : Overture to K. 126 Il sogno di Scipione

Symphony : Overture to K. 126 Il sogno di Scipione

Symphony : Overture to K. 126 Il sogno di Scipione