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André Chailleux: Andante Et Allegro (Alto Saxophone And Piano)

André Chailleux: Andante Et Allegro (Alto Saxophone And Piano)

André Chailleux 's Andante and Allegro for Alto Saxophone and Piano , composed in 1958, is an ideal performance piece for intermediate saxophonists. Beginning with a lyrical lent passage, the piece slowly moves towards a 6/8 Allegro, which includes many semiquaver flourishes for the Saxophone. Perfect for aspiring saxophonists, Andante and Allegro for Alto Saxophone and Piano is essential to performance progression on the instrument.

SEK 192.00
1

Praludium, Fuge und Allegro

Praludium, Fuge und Allegro

Prelude, Fugue and Allegro BWV 998 transcribed for Guitar. Bach's composition Prelude, Fugue and Allegro BWV 998 was originally destined for a pedal instrument calledLute-Harpsichord, which resembled the sound of a Lute. This composition is often played on ten-string Guitar which fully covers its range. The transcription by Stanislav Jurica for a Classical Guitar is not meant tosimplify the original, but to adapt it for Guitar and providing a fingering system. This enables Guitars players to enjoy Bach's music in a new context.

SEK 196.00
1

Jacques Ed. Barat: Andante et Allegro (Trombone & Piano)

Jacques Ed. Barat: Andante et Allegro (Trombone & Piano)

Composed by Joseph Edouard Barat , Andante Et Allegro is a piece for Trombone and Piano, dedicated to H. Couillaud, a Conservatoire professor. Quite difficult, this piece would be perfect for recitals and contest, and can be played by advanced players. Starting slowly, the first half of the piece evolves into a Piu vivo part. The second half of the work is a rapid Allegro theme (tempo 144-152), followed by a slower part and the Allegro theme played again “a tempo”, before introducing the close in harmonies. Joseph Edouard Barat (1882-1963) composed numerous pieces for Wind instruments and Piano accompaniment such as 'Andante and Allegro' or 'Introduction and Dance' among many others.

SEK 206.00
1

Eugène Bozza: Prelude and Allegro (Double Bass/Tuba/Saxhorn/Trombone and Piano)

Eugène Bozza: Prelude and Allegro (Double Bass/Tuba/Saxhorn/Trombone and Piano)

Composed by Eugène Bozza , Prelude and Allegro can be played by Double Bass, Tuba, or Saxhorn with a Piano accompaniment. Written in F for the Double Bass, Tuba or Saxhorn, this piece has an intermediate level of difficulty. Really enjoyable for the players and audiences, Prelude and Allegro would be ideal for a recital. Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin, conducting and composition, as well as the Grand Prix de Rome. He composed several operas, chamber works and ballets among others.

SEK 196.00
1

Allegro G major

Allegro G major

Joseph-Hector Fiocco (1703-1741) is regarded as one of the most important Belgian composers of the late Baroque era. The Allegro in G major was originally a movement from the Harpsichord Suites (Pièces de clavecin, Op. 1, 1730).The arrangement for violin and piano by A.Bent and N.O'Neill in 1910 made the piece very popular, particularly among violinists. The piece makes demands on the player's left hand with its fast passages and virtuoso ornamentationsand requires knowledge of all fingering patterns in first position. Occasionally, it is advisable to use third position to avoid major string changes. The passage work consists mostly of scale excerpts, triads, arpeggiation inthirds and sequences. The greatest challenge to master is the large number of string changes in a fast détaché, which requires a flexible bow hand. This edition is part of the new Schott Student Edition series which offers variedliterature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons.

SEK 139.00
1

Béla Bartók: Allegro Barbaro

Béla Bartók: Allegro Barbaro

One of Béla Bartók 's best-known and most popular works for Piano, the Allegro Barbaro was composed in 1910-11. Bartók himself enjoyed performing the piece in concerts and recorded it several times. A recording from 1929, referred to by Bartók as the “authentic recording”, contains very interesting departures from the printed version as far as tempo, articulation and even the number of ostinato measures are concerned. These elements have been included in the musical text for the first time in this Henle Urtext edition and are clearly annotated. With this first Bartók Urtext edition, editor László Somfai offers an insight into the many and varied musical impulses that will be demonstrated in the Béla Bartók Complete Critical Edition, which will be jointly published by Editio Musica Budapest and G. Henle from 2016.

SEK 160.00
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