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| Flûte En Suite (WIDMANN JORG) Flûte traversière, Orchestre Schott
This ?Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal …
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| Lobgesang (MENDELSSOHN-BARTHOLDY FELIX) Solistes SST, Choeur SSAATB, 2 Flûtes Traversières [Partition] Carus Verlag
Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one und…
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| El Cimarron (HENZE HANS WERNER) Baryton, Flûte, Guitare et Percussion [Conducteur] Schott
Par HENZE HANS WERNER. The making of El Cimarrón began in about 1986, with a conversation I had with Hans Magnus Enzensberger about the difficulties of writing political songs today that would go beyond the achievements of Eisler, Weill and Dessau in this field. It seemed to me that I might try to tackle the problem by writing a cycle with a variety of musical materials out of which perhaps someth…
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| O Wie Selig Seid Ihr Doch, Ihr Frommen (REGER MAX) Solistes SATB, Choeur SATB, Paroisse, 2 Violons, A [Partition] Carus Verlag
Choralkantate. Par REGER MAX. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositio…
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| Identifications II (MENGEL ANNETTE) Saxophone Baryton Leduc, Alphonse
Identification II represents the bold challenge of bringing the Accordion and Baritone Saxophone together in the same piece. The two instruments presentnatural affinities - indeed, the emission of sound through a single reed predestined their association. / Accordéon Et Saxophone Baryton
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| Very Flûte Indeed Quartets 4Fl (VAN STEEN PIP) Quatuor de Flûtes : 4 flûtes Broekmans
Par VAN STEEN PIP. / Recueil / 4 Flûtes Traversières
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| Madrigalum (SPARKE PHILIP) Orchestre d'harmonie [Conducteur et Parties séparées] Anglo Music
Par SPARKE PHILIP. The idea behind this work was to create an opening piece, something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and, by contrasting different instrumental families, the work changes into modern clothes. Why not add a little Renaissance s…
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| Curtain Up! Bühne Frei ! Duos 2 2 Flûtes traversières (duo) Universal Edition
14 Middle-Grade Duets From The Last Four Centuries. With so many young flautists in the musical world today it is only natural to pair them up and give them some wonderful duets to play. It's amazing what 'big” music, these two small instruments can cope with - indeed, in the eighteenth century the flute duet was almost the gramophone record of the time as countless operatic arias were brought to …
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| Tchaikovsky Complete Works (TCHAIKOVSKI PIOTR ILITCH) Violon et Piano [Partition] Hal Leonard
For Violin And Piano (Heifetz Critical Edition). Par TCHAIKOVSKI PIOTR ILITCH. This Critical Performance Edition is primarily based on the first print by the Russian publisher Jurgenson. In the Andante Funebre and Humoresque, the quartet and piano versions, respectively, were used for comparison. The composer accepted corrections by Leopold Auer and Vassily Bezekirsky, which are indicated in the v…
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| La Gloria E Imeneo Rv 687 (VIVALDI ANTONIO) Chorale SATB SATB, Piano Ricordi
The present reduction derives from the critical edition of the score of La Gloria e Imeneo, published in this catalog. The opera belongs to a group of the so-called 'French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdo…
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| Marche Hongroise (BERLIOZ HECTOR) Orchestre d'harmonie [Conducteur et Parties séparées] De Haske Publications
Par BERLIOZ HECTOR. When Berlioz won the Prix de Rome in 1830 he had already composed several major works such as the Symphonie Fantastique. Indeed, he became the essential French romantic composer. The Hungarian March is taken from the fourth act of The Damnation of Faust, a dramatic legend composed in 1846 and sometimes performed in the form of an opera. Previoiusly Berlioz had given it the sub-…
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| Missa Longa In C (MOZART WOLFGANG AMADEUS) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
C-Dur. Par MOZART WOLFGANG AMADEUS. Leopold Mozart described KV 262, unlike Mozart's considerably shorter masses of the same period, as a 'Missa longa'. The prolixity of some of the movements and of concluding fugues in the 'Gloria' and 'Credo' is indeed surprising. The full orchestral scoring also emphasizes the ceremonial character of this Mass. / Messe / Répertoire / Solistes SATB, Choeur SATB…
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| String Quartets Op. 41 (SCHUMANN ROBERT) Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
Although Schumann's first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments, the three String Quartets op. 41 in a minor, F major and A major were written in one go in June/July 1842. At the first private performances the audience was enthusiastic and it was Mendelssohn's praise in particular that occasioned Schumann to dedicate the new works to him. The c…
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| Concerto For Pianoforte And Orchestra #4 Op. 58 (BEETHOVEN LUDWIG VAN) Piano Quintette: piano, 2 violons, alto, violoncelle Barenreiter
This anonymous sextet arrangement of Beethoven's Fourth Piano Concerto was highly popular in Vienna during the composer's lifetime.We know this from at least two sets of handwritten parts which were then in circulation.No piano part has been handed down- indeed, the original sets of parts probably omitted the piano.The soloist presumably studied his part from the first edition of the solo part, pu…
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| Serenade no. 3 H 218 (MARTINU BOHUSLAV) Hautbois, Clarinette, 4 Violons et Violoncelle Barenreiter
Par MARTINU BOHUSLAV. Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound and form. It is from this period that four short serenades also originate (1932), each with a different instrumentation. The serenades were issued by the Pr…
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| Jolly Old Sleigh Ride (CURNOW JAMES) Orchestre d'harmonie [Conducteur et Parties séparées] Curnow Music
Par CURNOW JAMES. Jolly, indeed! This delightful arrangement full of sleigh bells captures the spirit of 'Jolly Old Saint Nicholas' as he makes his deliveries on Christmas Eve. A charming addition to your holiday concert! / Niveau : 1 / Répertoire / Concert Band ou Harmonie
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| Le Retour de Virginie, cantate (SAINT-SAENS CAMILLE) 2 Flûtes (Petite Flûte), 2 Hautbois, 2 Clarinettes Symétrie
Par SAINT-SAENS CAMILLE. Far from being an isolated work in Camille Saint-Saens’ production, Le Retour de Virginie (Virginia’s Return) belongs to a small set written at the beginning of his career in the particular context of the competition for the Prix de Rome that was established in 1803 then cancelled following the events of May 1968. It had been for more than a century and a half, the most co…
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| Grande Sonate For Pianoforte In B-Flat Major Op. 22 (BEETHOVEN LUDWIG VAN) Piano seul Barenreiter
Op. 22. Par BEETHOVEN LUDWIG VAN. Composed in 1800 and published as a 'Grande Sonate”, Beethoven's Piano Sonata in B-flat major op. 22 marks the end of his first creative period. The only surviving handwritten source is a copyist's manuscript that served as an engraver's copy but which conflicts in many details with the original print. Beethoven held this sonata in especially high regard, proudly …
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