The present two-clarinet arrangement of numbers from Mozart's Die Zauberflote was published c. 1806. The arranger was Johann Georg Busch, who appears to be identical with the cellist who played in the Kassel Court Orchestra from 1783. It has not been possible to establish when he was born or when he died. The pieces were published by Johann Anton Andr? from Offenbach in versions for both clarinet and flute and appeared under the title Airs favoris tires des operas arranges p. 2 Ciar. (Fl.) (Favourite Arias Drawn from the Operas Arranged for 2 Clarinets [Flutes]). As early as 1802 Armand Vanderhagen, one of the most famous clarinettists of his day, had already arranged various numbers from Die Zauberflote for two clarinets. Busch presumably used this arrangement as the basis for his own edition, although Van-derhagen's version is inferior to Busch's in terms not only of its choice of items but also in its overall tonal picture. Andre advertised the duets in several newspapers of the...
Вес: **55**
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Высота упаковки: **5**
Глубина упаковки: **290**
The present two-clarinet arrangement of numbers from Mozart's Le Nozze di Figaro was published c. 1806. The arranger was Johann Georg Busch, who appears to be identical with the cellist who played in the Kassel Court Orchestra from 1783. It has not been possible to establish when he was born or when he died. The pieces were published by Johann Anton Andre from Offenbach in versions for both clarinet and flute and appeared under the title A irs favoris tires des operas arranges p. 2 Ciar. (Я.) (Favourite Arias Drawn from the Operas Arranged for 2 Clarinets [Flutes]). As early as 1802 Armand Vanderhagen, one of the most famous clarinettists of his day, had already arranged various numbers from Le Nozze di Figaro for two clarinets. Busch presumably used this arrangement as the basis for his own edition, although Vander-hagen's version is inferior to Busch's in terms not only of its choice of items but also in its overall tonal picture. Andre advertised the duets in several newspapers of...
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
After some twenty years of performing as a professional musician I have come to the conclusion that essentially I am more of a pop musician than a classical one. To pop musicians, the music is the vehicle of their expression, not vice versa, as is common practice in classical music. Of course, ideally, both will benefit from each other. But the attitude is different. So I seek and arrange music that gets me going. Paganini has done the job for me on many occasions. One of them was a commission by the Dutch Noord Nederlands Orkest who asked me to perform Paganini's Second Violin Concerto on a tour in 2001. Together with the violinist Rudolf Koelman, I worked on arranging and mastering it for a year. Not enough. The performances came too early - I dare to admit now, ten years after... The famous last movement La Campanella (that inspired so many other composers like Schumann and Liszt) has stuck with me to this day, mainly because in its present form, just like its virtuosic counterpart...
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Telemann published the first edition of the "Petite Musique de Chambre" in Frankfurt in 1716 and dedicated it to four oboists of his time. The work was reprinted in Hamburg in 1728 without the dedication and under the title "Petite Musique de Chambre. Die kleine Cammer Music von Telemann". The second page of the edition of 1728 states the instruments for which Telemann wrote the work: "Hautbois, ou Violon, ou Flute Traverse, ou Clavessin, avec la Basse chiffr?e". The Kleine Cammer Music contains 6 "Partitas", each consisting of a first movement and 6 "Arias". The present partita is No. 4 of the edition of 1728, taken from the copy in the library in Darmstadt with the kind permission of the chief librarian. The score contains the solo and bass parts in their original version; in the separate solo part the editor has interpreted Telemann's crosses +, added occasional breathmarks, and made a few suggestions which are indicated by brackets and dotted slurs. He is also responsible...
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **60**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary, solo instrument to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Cuitar Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notation, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
In 1724 Francois Couperin published a collection of two-part concertos, which he designed a l'usage de toutes les sortes d'instruments de Musique (for the use of all sorts of musical instruments). This very important collection is entitled. From it we have taken the present 6th concerto. The choice of a solo instrument was not too difficult, c1 is the deepest, d3 the highest note of the solo part, so two of three possible wind instruments, recorder and cross-flute, are out of the question (f1 is the deepest tone of the treble recorder, d' the deepest tone of the baroque cross-flute). The complete lack of even the simplest double stops nearly excludes the possibility that this concerto actually might have been written for violin. The oboe seems to be the right instrument for the piece, so it is justified to include it into the "Oboe-Bibliothek".
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
The great popularity of the flute with amateurs even after the baroque period is due to the large numbers of arrangements of Mozart's compositions for and with the flute. One of these is the p resent Sonata. It is not listed in the 6th edition of the Kochel index, but is in RISM, under M. 6900. We owe this new edition to Schott, who placed the first edition from their archives at my disposal. The arranger ist Gottlieb Heinrich Kohler, flautist, later for health reasons timpanist in Leipzig, musician at the Gewandhaus, and teacher, who apparently wrote at least 168 operas. Most ofhis works can be safely regarded as ephemeral - Schilling described him as a "Modekomponist" (a composer who wrote according to fashion) - but that cannot be said of the present sonata. The model for this arrangement is the piano sonata in С maj or, K. 300h, transposed up a tone. Kohler added two further movements (also transposed into D major): the andante from the F major sonata for piano and...
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With his six sonatas KV 10-15, the eight-year-old Mozart succeeded in producing 'Spielmusiken' (play pieces) of priceless quality. It is hardly conceivable that a child of this age should compose pieces which are to be taken seriously, in which his un-awakened genius is already to be detected in certain places (the slow movements amongst others), so it is not surprising that these compositions are still strongly influenced by the conventions of the time: joyful and entertaining music, written for the pleasure of performer and audience alike. The title ('Six Sonates pour le Clavecin... avec l'accompagnement de violon ou Flaute traversi?re...') implies that the instrumentation is not definitive and that performers can choose, according to the possibilities available; this reflects entirely the musical practice of the time. This, and the fortunate fact that the range of the 'accompanying' melody instrument corresponds to the range of the oboe (apart from a few low notes),...
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Глубина упаковки: **290**
In Richard Strauss's earliest creative period, when he was not yet burdened by crises concerning the relationship of form and content, he already displayed a marked preference for the single movement 'salon piece', close to the Lied in form. Strauss wrote many romancelike, cantabile works alongside the ambitious, sometimes rather forced large-scale forms of the sonatas and concertos, and these smaller forms often seem to have been better suited to his lyrical gift. Thus, for example, the large-scale Cello Sonata in F major, Op. 6, composed in Staffelstein and Munich between 1881 and 1883, was not followed by a work in the same form and for the same instruments, but by the single-movement Romance for Cello in F major, WoO AV 75, marked 'andante cantabile', which Willi Schuh has called 'one of the most mature of the early works'.
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Высота упаковки: **5**
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The present edition is principally based upon the Dresden source, though the Berlin manuscript and the London edition have also been examined for purposes of comparison. In his manuscript, Pisendel does not specify the solo instrument. On the title page of the London edition, however, specific details are given: La 2.da e 5.ta Sonata si puo Sonare nell'Flauto Traversiero. The present edition therefore names the flute first of all as solo instrument. The Dresden manuscript does not contain any performance markings.
Вес: **55**
Ширина упаковки: **220**
Высота упаковки: **5**
Глубина упаковки: **290**
