18 études For Oboe Or Saxophone was composed by Eugène Bozza for upper intermediate / advanced players. Quite difficult most of these studies are one-page long and will improve the flexibility and the sonority of the players: 1. Moderato - a piacere with the character of an improvisation 2. Moderato - expressive and flexible 3. Allegro giocoso 4. Très modérément - with a nice sonority 5. Allegetto scherzando 6. Andantino - with a nice sonority 7. Andantino - deep and quiet 8. Tarentelle (Allegrovivace) 9. Andantino 10. Recitativo 11. Allegro moderato (grazioso) 12. Allegro moderato 13. Allegro vivo 14. Sicilienne 15. Improvisation - after Pastoral Fantasy for Oboe and Piano 16. Recitativo (Moderato) 17. Presto 18. Moderato Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prize for the Violin conducting and composition as well as the Grand Prix de Rome. He composed several operas chamber works and ballets among others.

for mixed trio (combinations of flute oboe clarinet saxophone bassoon or cello)

9 Pieces for two Violins-Popular adagios from the classical repertoireEasy pieces which sound impressiveBoth parts of equal importance Well-known slow movements melodies and arias have been arranged for two violins – with a passion for detail but above all with convincing musical results. The arrangements stand out for their high fidelity to the original works. Both players are of equal importance and the melody with its expressive themes moves frequently from one player to the other. Perfect for weddings auditions or busking. The arranger Vladimir Bodunov is a versatile musician from Belarus. He performs throughout Europe as a soloist in orchestras and particularly in duo with his wife MartaDanilkovich.From the contentsMozart Adagio (Clarinet Concerto) / Vivaldi Largo (The Four Seasons – Winter) / Marcello Adagio in D minor / Puccini Nessun Dorma from Turandot Arrangements by Bodunov already published:Violin Classics for two ViolinsBA 10607

This collection provides a practical edition that can be used for marching as well as in the concert hall for 15 Sousa classics: The Beau Ideal • The Black Horse Troop • El Capitan • The Fairest of the Fair • Hands Across the Sea • The High School Cadets • The Invincible Eagle • King Cotton • The Liberty Bell • Manhattan Beach • Nobles of the Mystic Shrine • Semper Fidelis • The Stars and Stripes Forever • The Thunderer • and The Washington Post

A little ragtime some blues and a bit of charming nostalgia - all are to be found in this collection of seven delightful solos for the early Piano student. From gentle serene ballads to toe-tapping dances the kaleidoscope of styles featured here will help develop all aspects of your solo playing and provide a rich selection of pieces for those early performance opportunities.

Classical melodies from Piano Opera and Orchestral Literature are revisited in this unique series. The arrangements feature jazz styles including ragtime and blues. Students who are familiar with some of these gems will enjoy their new settings while those playing them for the first time will become familiar with these wonderful melodies. Titles include: Bagatelle Swing; Ecossaise Rag; German Dance Rag; Jazz in A Minor; Lullaby in Blue; Ragtime Sonatina and Sheherazade Jazz .

Guide de l'élève- écoute musicale active par le musicogramme guide de l'élève. Par Grosser aux éditions Leduc. Partition / Livre de chansons et théorie musicale

The Music Workbook contains pages of coloring tracing matching ear training and listening that have been carefully designed to reinforce the musical concepts introduced in the Music Lesson Book 4. In full color 48 pages.

18 Trascrizioni facilitate per pianoforte.-18 transcriptions for easy Piano of classic Italian music. Includes: Addormentarmi così - Arrivederci - Arrivederci Roma - Chi non conosce te - Come prima - Due note - E se domani - Estate - Grande grande grande - Il nostro concerto - La più bella del mondo - Le tue mani - Nel blu dipinto di blu - Non dimenticar (t'ho voluto bene) - Parlami d'amore Mariù - Roma nun fa la stupida stasera - Settembre - Stradivarius .

for Violin and Piano-Brahms had already announced his „retirement“ from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld’smuch admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intendedto do another one for violin a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition the violin version is almost unknown. Yet for theviolin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bringthe neglected violin sonatas op. 120 back into players‘ hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas‘ origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the uniquePerformance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms death a widening gulf developed between the composers expectations and the performance practices of the early 20th century. On thebasis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms notation. By asection-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato piano pedalling and overholding piano arpeggiation and dislocation string instrument fingering string instrument harmonics andvibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: “Performance Practices in Johannes Brahms Chamber Music” BA 9600 Brahms had already announced his „retirement“ from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld’s much admired playing and inspired him to write two Cl

Oboe Piano. Winters G

Easter Cantata- Christ lag in Todesbanden (Christ lay in grim death's prison) Easter Cantata In recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories e.g. motets cantatas magnificats and masses. The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal choral and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik' that is to say they are functional music written for specific use in the church service. They are not music written for its own sake. Full score performance material (BA2875) choral score (BA2875-91) available for sale

Moravian Duets a popular composition that was originally intended for home music-making won young Dvorak a scholarship and relieved him of financial worries; after the composition was published by Simrock it also launched Dvorak 's international career. Shortly after their publication Leos Janacek arranged six duets from Op. 29 and Op. 32 for four-part mixed choir using Dvorak 's Piano accompaniment. Janacek thus extended the choral repertoire by adding six highly rewarding pieces which are included in this edition. The basis for this edition is Janacek 's choral score published in 1939 byJosef Plavec. The Piano part Czech text and German translation by Kurt Honolka were taken without any changes from the Complete Critical Edition of Works by Antonin Dvorak.

2 Improvisations Op. 9 for Ensemble was composed by Pelle Gudmundsen-Holmgreen in 1961.

Arranged for Alto Saxophone And Piano by Marcel Mule.

HWV 283- Handel 's Dettinger Te Deum was composed to celebrate England’s victory over the French at the Battle of Dettingen. This is Handel ’s last and most successful setting of the Te Deum and reveals a deep understanding of the English church music tradition. The sound impact of this broadly conceived work is governed by the choirs in an almost theatrical exegesis of the text. Particularly striking are several borrowings from the Messiah which Handel had just completed. This Barenreiter Urtext edition has been edited by the Baroque specialist Amanda Babington and is based on the Urtext from the Halle HandelEdition. First Urtext edition Includes a Foreword (Eng/Ger) Straight-forward well-presented Piano reduction (Eng) Full score and performance material (BA10706) and vocal score (BA10706-90) available for sale

Introduction & aria-Voice Piano. Finzi G.

Haydn’s Symphony in C major Hob. I: 90 dated 1788 in the autograph belongs to a group of works that he composed between the Paris symphonies (Hob. I: 82–87) and the London symphonies (Hob. I: 93–104). It thus belongs to the last symphonies he wrote before his journeys to England in 1791–92 and 1794–95. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works operas and symphonies this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. With Symphony No. 90 Bärenreiter has now published the complete performance material for all the symphonies from Nos. 82 to 104 aswell as several Sturm und Drang symphonies. Based on the G. Henle Complete Edition of the Works of Joseph Haydn Orchestral parts in a large format (25.5 x 32.5 cm) Full score and parts (BA10981) available for sale

1.Entrée noble; 2.Berceuse; 3.Gavotte

Eleanor Rigby - We can Make it Out - Get Back - Hey Jude-The Beatles the most timeless and legendary pop group ever made history with an endless series of world hits that are still loved today. Filip Sandras has made a fluent arrangement out of Eleanor Rigby We can Work it Out Get Back and Hey Jude that can be played by every orchestra.