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Italian Leather Shoulder Bag - Acoustic Guitar

The Light in the Piazza : Choral Highlights

Gavin Higgins: Dark Arteries Suite (Score & Parts)

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Beaton Wireless 1 trådløst system til guitar, bas mm.

Aroldo

Aroldo

St. Paul Op.36

St. Paul Op.36

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul, Op.36 in 1836, at the age of twenty-seven. The first version, which was premiered on 22 May 1836, was then extensively revised bythe composer. This second version, which at the same time served as the basis for the published version, was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score, Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner, who later denigratedMendelssohn,was full of admiration. Today, St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio, edited by the internationally-recognisedMendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work, the score also includes for the first time numbers which were composed for the first version andsubsequently removed. This gives not only an insight into the history of the composition of the work, but also, with the complete performing material, into the performance of the original version.The full score and vocalscore (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition, representing the latest musicological researchIncludes allnumbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

SEK 1883.00
1

Ross Roy

Ross Roy

Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.

SEK 1921.00
1

Dixit Dominus HWV 232

Dixit Dominus HWV 232

Handel wrote the famous Dixit Dominus with the text of Psalm 109 during his time in Italy in c. 1707. Although he was only 22 years old, the work already demonstrates his wide spectrum of compositional abilitieswhich are later fully realized in his operas and oratorios. Central to this work are the six choral movements, which with their polyphonic structure are closely related to German choral music of the 17thcentury.The first Urtext edition BA 4002 based on the Halle Handel Edition was published in 1960. At that time no critical commentary was published so that in cases of doubt, the basis on whicheditorialdecisions were made was not officially recorded. A new complete edition volume (BA 10704/01) , due to be published in 2013 will include a detailed foreword providing information on the genesis and the first performanceof this work as well as information on the psalm on which this work is based and on performance practice. In addition several facsimiles pages will be included, giving a view into the source material. The critical commentarywill provide a detailed insight into all the available sources and how they have been passed down.This newly revised Urtext performing edition offers a thorough revision of this frequently-performed work and meets allthe requisites of a scholarly-critical edition. Former readings in the old edition regarding a small number of pitches, but mostly basso continuo figures and the underlying text have now been able to be amended on the basis of thenew findings. In the new edition the work appears in nine movements no longer eight which reflects the composer's intentions.The new performance material is not compatible with the old one.Presentedin a revised Urtext editionClear, straightforward Piano reduction in the vocal scoreUrtext of the Halle Handel EditionFull score, performance material (BA10704) & Vocal score (BA10704-90) available forsale

SEK 1639.00
1

Ross Roy

Ross Roy

Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.

SEK 1921.00
1

Robert Schumann: Complete Piano Works Study Score - 6 Volume Slipcase (Henle Urtext)

Robert Schumann: Complete Piano Works Study Score - 6 Volume Slipcase (Henle Urtext)

On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879?93, all of the works for Piano solo are appearing as one editorial project.Spanning almost ten years of painstaking work, all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection, comprising six volumes as well as study editions in a slipcase. They replace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers, it includes not only all of Schumann's Piano works, revised to reflect the latest scholarly findings, but also informative accompanying texts, alternative versions and much more besides.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänze op. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo, Gigue, Romance and Fughetta op. 32 Album for the Young op. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ["Ghost" Variations] E flat major Drei Fantasiestücke op. 111 Three Piano Sonatas for the Young op. 118 Album Leaves op. 124 Seven Piano Pieces in Fughetta Form op. 126 Gesänge der Frühe op. 133 "Einsame Blume" from Forest Scenes op. 82 Coloured Leaves (Bunte Blätter) op. 99

SEK 1496.00
1