ALPINE

  • Uhl – 48 Studies for Clarinet, Book 2

    #html-body [data-pb-style=NN3WQ8H]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}These studies are intended to complement the existing teaching material for the clarinet, making the budding clarinettist familiar with the difficulties peculiar to modern instrumental music.

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  • Kreisler – Variations On A Theme by Corelli in F Major

    #html-body [data-pb-style=V9A2SU9]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Variations on a theme by Corelli F major in the style of Giuseppe Tartini

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  • Chopin – Variations On A Theme By Rossini

    #html-body [data-pb-style=U71COCN]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Variations on a theme by Rossini from the opera “La Cenerentola” 
     

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  • Tchaikovsky – Pezzo Capriccioso for Cello & Piano

    #html-body [data-pb-style=PIW7P2O]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Εκτός από τις διάσημες Rococo Variations, ο Pyotr I. Tchaikovsky συνέθεσε και ένα άλλο έργο για σόλο τσέλο: το Pezzo capriccioso, Έργο 62. Το έργο είναι αφιερωμένο στον Brandoukoff (Brandukov), με τον οποίο το παρουσίασε για πρώτη φορά στο περίφημο καλλιτεχνικό σαλόνι της οικογένειας Μπεναρδάκη, τον Φεβρουάριο του 1888. Ο ίδιος ο σολίστ πρότεινε μερικές μικρές τροποποιήσεις στο σόλο μέρος. Ακόμη και ο σπουδαίος βιρτουόζος του τσέλου και δάσκαλος, Maurice Gendron, ασχολήθηκε ξανά με το έργο, εμπλουτίζοντας το σόλο με περισσότερες βιρτουόζικες λεπτομέρειες και προσθέτοντας μια cadenza, μια εκτεταμένη ανακεφαλαίωση και ένα παρατεταμένο τέλος στο Pezzo.
    Η παρούσα έκδοση δίνει τη δυνατότητα στον εκτελεστή να αποκτήσει μια πλήρη εικόνα των διαφορετικών εκδοχών και επιπέδων του έργου. Οι δακτυλισμοί, οι ενδείξεις δοξαριών και τα ερμηνευτικά βοηθήματα – εκτός από αυτά που περιλαμβάνονται στα πρόσθετα μέρη – είναι έργο του Maurice Gendron.

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  • Benda – Concerto in F Major

    The early classical concerto of Friedrich Wilhelm Heinrich Benda that was written around 1775 is virtuoso showing the technical and tonal qualities of the instrument to their best advantage. Instrumentation: viola and strings with harpsichord; 2 horns ad libitum.

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  • Mozart – Master Melodies & CD

    #html-body [data-pb-style=CT95V6C]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Mozart, Wolfgang Amadeus
    Master melodies (+CD) for piano
    Master melodies, easy arrangements
     
    A selection of the most beautiful and well-known melodies
     
    Contents
    ANDANTE – AUS DER SONATE C-DURTUERKISCHER MARSCH – AUS DER SONATE A-DURAVE, VERUM CORPUSALLEGRO – AUS DER SONATE C-MOLLMENUETT AUS DEM DIVERTIMENTO D-DURMENUETT AUS DER 2. SYMPHONIEMENUETT AUS DER ‘JUPITER-SYMPHONIE’MENUETT AUS ‘DON JUAN’ARIE – REICH MIT DIE HAND, MEIN LEBEN (DON JUAN)ARIE – O ISIS UND OSIRIS (ZAUBERFLOETE)ARIE – DER VOGELFAENGER BIN ICH JA (ZAUBERFLOETE)ARIE – IHR, DIE IHR DIE TRIEBE DES HERZENS (FIGAROS HOCHZEIT)

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  • The Virtuoso Piano Transcription Series, Vol. 4 Rigoletto

    #html-body [data-pb-style=BVAA9V8]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}#html-body [data-pb-style=XUDTYAI]{max-width:360px}Franz Liszt (Composer) | Giuseppe Fortunino Francesco Verdi (Composer)RigolettoConcert-Paraphrase about the quartet by Franz LisztPiano
    The opera paraphrases take a prominent place among Liszt’s complete works as a self-contained art form alongside original compositions. Feruccio Busoni values the high artistic merit of these compositions in the manner in which their well-considered structural planning in the arrangement of form and contrast and the endeavour to expand and embellish the chosen motifs place Liszt’s opera fantasies apart from the “plebeian potpourri”. The early Verdi paraphrases, particularly this Rigoletto-Paraphrase composed in 1859, are far superior to the later paraphrases (including those based on Don Carlos and Aida). This exceedingly brillant concert piece based on arguably the most famous quartet in the history of opera is particularly significant for the unique way in which Liszt is able to bring together the juxtaposition of extreme contrasts – the Duke’s ardent declaration of love, Maddalena’s prattling rejection, the grief-stricken cantilene of Gilda’s and Rigoletto’s furious parlando – as in Verdi’s original, resulting in a marvellous formal unity.
     

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  • Liszt – Ungarische Rhapsodie No 1

    #html-body [data-pb-style=VPPPBLH]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Franz Liszt (Composer) | Eugen d’Albert (Editor)
    Hungarian Rhapsody
    No. 1 E major
     
    Piano
    Series:Edition Schott – Single Edition
     

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  • Szeleny – Nocturne

    #html-body [data-pb-style=YNT0KIX]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}István Szelényi (Composer)Nocturne

    Szeleny – Nocturne

    12,0013,30

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  • Strawinsky – L` Oiseau De Feu

    #html-body [data-pb-style=NRDHX04]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}The Firebird Scherzo, Berceuse and Danse Infernale arranged for piano by Soulima Strawinsky

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  • Feuillard – Daily Exercises for Violoncello

    Louis R. Feuillard (1872-1941) is best known as the teacher of Paul Tortelier, who described him as a man with an extraordinary pedagogical feeling. His daily exercises cover the most important areas of cello technique, such as exercises in the neck and thumb positions, double stops and bow exercises. Particularly because of the logical structure of the exercises, they have been one of the standard works of etude literature for cello since their first appearance in 1919.
    Part: Exercises in the neck positions
    Part: Exercises that encompass the cello in its entirety
    Part: Exercises with thumb attachment
    Part: double handles
    Part: bow exercises

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  • Renate Bruce-Weber – Die fröhliche Violine Band 1(Package)

    At the violin school The Happy Violin, the focus is on having fun while learning: the textbook aims at a playful, early start with the instrument. As the lesson progresses, the growing students are then consciously addressed in a language that corresponds to their age development. This also includes a stylistically diverse range of pieces from classical and folklore, and all sorts of interesting facts about the music and its composers are always reported.
    Volume 1: Detailed introduction to the bow position – songs and pieces using only the first type of fingering, with a focus on rhythmic, melodic and bowing technique variety – playful exploration of violin playing techniques such as pizzicato, position playing, flageolet and double stops CD for volume 1 (T 3272). all songs and pieces, with funny dialogues spoken by children. A motivating addition to the lesson and a nice gift idea!
    The playbook is designed as a supplement to the first volume of the teaching work The Happy Violin. Therefore, all violin parts can be played in the 1st fingering to suit the violin school. Musically, however, the booklet goes far beyond the content of a first year of teaching, so that the pieces are also well suited to recapitulating familiar content.
    The pieces contain a wide variety of musical ideas and styles, from baroque to modern, from the shanty to the Japanese national anthem, from the light canon to the effective prelude piece.
    Contents
    Preface
    Welcome to violin lessons
    Visit to the violin maker
    The four strings
    The bow stance
    Eighth notes
    The left hand
    The first type of grip
    The flageolet
    sign
    Bound sheet music
    The first double stops
    Short notes
    Songs for special occasions
    Songs and plays:
    Evening song
    Ali ben Ule
    All of Alabama’s monkeys
    American gospel song
    Andulka
    To sing on rainy days
    Asian dream song
    Elevator
    From Beethoven’s Violin Concerto
    From the Peasant Cantata
    From the 9th Symphony
    Babushka’s Evening Song
    At the violin maker
    Bella Bimba
    movement game
    Brother Jacob
    Cantata Domino
    Chinese melody
    The dachshund drama
    The echo
    The sad child
    The excursion
    The hedgehog and the porcupine
    The Cuckoo and the donkey
    The night violinist
    The clever Purzel
    The snail
    The proud poodle
    The proud poodle – something different
    The old bridge
    The old bridge-somewhat changed
    The goose Agathe
    The Nightingale
    The snail mail
    English sea shanty
    English sea shanty (chorus)
    Finger climbing song 1
    Eve! Caroline!
    Carnival duet
    Holiday song
    French troubadour song
    Brother Jacques
    Happy violin piece
    Spring song
    Five scale tongue twisters
    birthday song
    Ghost music
    Good morning, Mr. Spielmann
    Hot, Kathreinerle
    Hey, hitch up the car
    Heijo, hitch up the car (canon)
    In the rocking chair
    Indian dance
    Joseph, dear Joseph my
    Canon from Israel
    Do you know this song?
    Little festival music
    Little finger exercise
    Little melody
    Small scale piece
    Cuckoo song
    Song of the Snake Charmer
    Song with the note B
    March for the Emperor of China
    Morning song
    musette
    Another climbing scale
    Another piece with double stops
    Oh joyful day
    O Savior, tear open the heavens
    Intermission piece
    polka
    Little rose, little rose
    String changing exercise
    Scottish March
    Scottish New Year’s Eve song
    swing dance
    Dance song
    Tim the piper
    I stepped outside the door today
    Trumpet fanfare
    Hungarian dance
    Good luck and many blessings
    Virtuoso piece
    From the sky above
    waltz
    what is that supposed to mean
    What is the little mouse dreaming about?
    Lullaby
    We climb up
    We’re calling everyone
    We play with and without breaks
    We practice the dotted rhythm
    We practice for the swing dance
    Miracle song
    Happy birthday
    At Easter
    Two small fifth pieces
    Playbook:
    Two pieces on open strings:
    Sunday walk
    Birthday rally
    Two canons:
    Autumn canon
    Spring canon
    Two songs from Israel:
    Love song (Hana’ava babanot)
    Praise to King David
    Two songs from Spain:
    Summer Song (Segador)
    The Shepherdess (La Pastoreta)
    Two sea shanties:
    Was once a small sailing boat
    My Bonnie is over the ocean
    Two pieces from the “Happy Violin”:
    Peasant Cantata (JS Bach)
    The night violinist
    Two pieces from the early baroque:
    Peasant Dance (M. Praetorius)
    Dance (M. Praetorius)
    Two pieces from the Baroque period:
    Little Hunting Music (G. Ph. Telemann)
    Variations on: “We have three cats” (Augsburger Tafelkonfekt)
    Two pieces from the 21st century:
    The scary cobra
    Dance of the earthworms
    Two songs from Australia:
    Moreton Bay
    The frigate Catalpa
    Two pieces for stage performances:
    Enter the contortionists
    Rondo after a Polish dance

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  • Piano music by female composers

    Female composers have made their way in the face of prejudice and opposition. For a long time the prejudice prevailed that women lack the requisite creative talent to compose great music. It is indeed true that women have been less active in the field of musical composition than their male contemporaries, but reasons for this are found in the social circumstances of the recent past:
    In the late eighteenth and nineteenth centuries, the ages of the Enlightenment and the flowering of great achievement in music, women were denied the education and encouragement which would have made individual accomplishment possible beyond the limits of domestic music-making. In spite of these hindrances there were highly gifted women who overcame the hurdles and were able to prove their talent for composition. Of course these belonged to the wealthy middle and upper classes, or were women from musical families who were able to receive a thorough training.
    This selection, comprising 19 female composers from eight countries, cannot claim to be completely representative, both because it is limited to the period from the eighteenth century to the present, and because there is, as yet, no systematic catalogue of the autographs and printed editions in archives and libraries. But our editors are happy that this publication is worthwhile and justified, and that each of the pieces can speak for itself.
    Women will in future pursue musical composition amid a manifest change in society’s view of women and its attitude towards them.
    Vorwort
    Zu den Komponistinnen
    Elisabeth Jacquet de Laguerre (ca. 1664-1729): Rondeau
    Marianne Matinez (1744-1812): Sonate No. 3
    Maria Szymanowska (1789-1831): Nocturne
    Fanny Hensel (1805-1847): Mélodies, op. 4/2 und op. 5/4
    Clara Schumann (1819-1896): Andante con sentimento
    Louise Farrenc (1804-1875): Impromptu
    Cécile Chaminade (1857-1944): Pierrette, op. 41
    Ilse Fromm-Michaels (1888-1986): Langsamer Walzer
    Else Schmitz-Gohr (1901-1987): Elegie für die linke Hand allein
    Lotte Backes (1901-1987): Slow
    L.ili Boulanger (1893-1918): D’ un vieux jardin
    Priaulx Rainier (1903-1986): Barbaric Dance
    Elizabeth Lutyens (1906-1983): Two Bagatelles
    Peggy Glanville-Hicks (1912-1990): Prelude for a Pensive Pupil
    Verdina Shlonsky (1913-1990): Introduction
    Ivana Loudova: 2 Stücke (Dornröschen
    Wiegenlied)
    Barbara Heller (*1936): Piano Muziek
    Böhmisches Lied
    Susanne Erding (*1955): Chillan
    Johanna Senfter (1879-1961): Erster Schmerz
    Vogelweise

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  • Doflein – The Doflein Method Vol.1, The Beginning [English]

    A course of violin instruction combined with musical theory and practice in duet-playing
    Chapter 1: Music with five notes
    Chapter 2: Music with six notes
    Chapter 3: Music with eight notes
    Chapter 4
    Chapter 5: Key-note on the first finger
    Chapter 6: Combination of both attitudes of the fingers
    Chapter 7: Dotted Quarter Notes (Dotted Crotchets)
    Chapter 8: Key-note on the third finger
    Chapter 9: Key-note on the second finger (C Major)
    Chapter 10: The keys and their signatures
    Chapter 11: Songs and pieces to Play
    Chapter 12: Music in the minor mode
    Chapter 13: Syncopation

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  • PEAVEY PVi 2500

    Detent volume controls
    Ground lift switch
    2 dual speed fans for cooling
    Noise-free on-off
    Independent DC and thermal overload protection on each channel
    Short circuit and speaker protection
    DC servo operation
    Power ON, Clip, Signal, and Protect LED indicators for each channel
    Stereo (dual channel), parallel-input, or bridged mono operating modes with selector switch
    Road-worthy, rugged double rack space (2U) housing
    Parallel balanced XLR and 1/4″ TRS inputs
    ~115(60Hz)/~230V(50Hz) AC select switch and IEC power cord connector
    Built-in DC offset
    1900 Watts
    Binding post (banana plug) outputs
    Built-in digital current limiter

    PEAVEY PVi 2500

    589,00655,00

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  • PEAVEY PV Series MSP1 Microphone XLR

    Complete microphone/microphone stand package
    Includes PV®i100 dynamic cardioid microphone
    Designed for stand-mount application
    Black powder-coat finish tripod microphone stand with boom arm
    6-meter microphone cable
    Mic clip
    Convenient nylon carry bag
    Also available with 1/4″
    cable
    Packed Weight: 3.2 kg
    Packed Length: 90.81 cm
    Packed Width: 12.7 cm
    Packed Height: 10.16 cm

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  • PEAVEY AQ 15 Aquarius Series

    Two-way bi-amplified analogue amp-powered speaker system
    15″
    heavy-duty woofer
    DX™14 compression driver, with a 1.4-inch titanium diaphragm
    670 watts peak dynamic woofer power, 330 watts peak dynamic tweeter power
    Bluetooth® streaming and pairing are supported
    DSP processing is 56-bit double-precision
    DSP I/O is at 48 kHz and 24 bits, with low-jitter, professional-grade components
    Dynamic bass boost function
    Fan-cooled for maximum reliability
    Peavey® Designed Quadratic Throat Waveguide™ technology, 110 by 80-degree coverage
    Input is via a combo female XLR and 1/4″
    TRS phone jack with balanced input OR a Bluetooth ® signal can be streamed to the speaker system.
    A Mic/Line switch to accommodate a wide range of input signals
    Thru/Mix output is via a male XLR jack
    Multiple Factory Preset EQ settings for the DSP crossover system
    Rugged plastic injection-molded trapezoidal enclosure
    The cabinet has dual rear corner angled sides for floor monitor use.
    Full-coverage perforated steel grille, with powder coat finish
    Pole mount moulded-in for 1 3/8″
    diameter poles
    Packed Weight: 22.4 kg
    Packed Length: 77.47 cm
    Packed Width: 47.94 cm
    Packed Height: 44.61 cm

    PEAVEY AQ 15 Aquarius Series

    668,00742,00

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  • PEAVEY PV14 BT

    New rugged, slim, low-profile console design
    Convenient tablet cradle
    8 combination XLR/1/4″
    low noise mic preamps
    Selectable Hi Pass Filter on first 8 inputs
    3-band EQ on all channels
    8 channels of Peavey’s exclusive MidMorph® EQ
    EQ bypass per channel
    4 channels of built-in compression
    Individual channel mutes
    Individual Listen/Solo function
    LED clip and signal present indication
    8 Channels of direct out
    Stereo pan control per channel
    Channel 9/10 stereo 1/4″, RCA, or 3.5mm input channel
    Dual selectable control room outputs
    One pre-fader AUX send
    KOSMOS® bass and treble enhancement
    Main stereo outputs with 1/4″
    unbalanced and balanced XLR connectors
    Precision 60 mm faders
    High-quality master LED meter bridge
    Master mic mute
    Studio-quality headphone output
    Equipped with Bluetooth wireless connectivity, Bluetooth 3.0 + EDR, A2DP
    On-board USB-A MP3 and WAV playback
    Stereo USB-B streaming audio in and out, 16-bit, up to 48kHz sample rates
    Built-in Digital Effects with LCD Display
    Peavey’s exclusive on-board Hi Z guitar input
    Global 48V phantom power
    Product Dimensions: wide x deep x high: 41.12 cm x 43.94 cm x 5.56 cm
    Packed Weight: 6 kg
    Packed Length: 51.99 cm
    Packed Width: 47.5 cm
    Packed Height: 8.99 cm

    PEAVEY PV14 BT

    563,00626,00

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  • PEAVEY IPR2 3000

    2- Channel independent fourth-order Linkwitz-Riley crossovers
    DDT
    Revolutionary IPR class D topology
    Combi XLR 1/4″
    inputs
    Speakon output connectors
    Light Weight
    LED illuminated
    Detented input controls
    1750w at 2 ohms
    950w at 4 ohms
    525w at 8 ohms
    Individual signal pass 1/4″
    jacks on each channel.
    Packed Weight: 4.9 kg
    Packed Length: 53.34 cm
    Packed Width: 31.75 cm
    Packed Height: 11.94 cm

    PEAVEY IPR2 3000

    917,001.019,00

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  • PEAVEY Milestone 5 Black (5-string)

    34″ scale
    Dual-expanding truss rod
    20 frets
    12″ radius
    19:1 ratio tuning machines
    One straight and one split single coil pickup
    Stamped steel bridge
    Chrome hardware
    Two-volume, master tone controls
    Case not included
    Maple neck with rosewood fretboard
    Balanced, comfortable body styling with sculpted front and back, improved access neck joint
    Packed Weight: 4.99 kg
    Packed Length: 120.65 cm
    Packed Width: 37.47 cm
    Packed Height: 8.89 cm

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  • PEAVEY PVX12

    Two-way sound reinforcement enclosure
    12″
    heavy-duty woofer with 2 3/8″ voice coil & 50 oz. magnet
    RX™ 14 compression driver, with 1.4-inch titanium diaphragm
    400W program / 800W peak power handling
    Peavey’s exclusive Quadratic Throat Waveguide™ technology, 100 by 50-degree coverage
    Asymmetrical horn aims the sound down 10°, at the audience, not over their heads
    Crossover network for driver protection and EQ
    High-frequency driver protection
    Durable plastic injection-molded trapezoidal enclosure
    The extra angled section on the right side allows floor monitor use
    Full-coverage heavy-duty perforated steel grilles, with powder coat finish and weather-resistant foam cloth
    Pole mount molded-In
    Top, bottom and right side flying point inserts
    Packed Weight: 20 kg
    Packed Length: 67.95 cm
    Packed Width: 50.8 cm
    Packed Height: 46.36 cm

    PEAVEY PVX12

    328,00364,00

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  • Das Neue Sonatinenbuch

    Keep the old, but be generous with the new. Fundamentally the editor of the New Sonatina Book has followed this principle.
    Therefore in the book are found sonatas for children which are almost classical, as well as other works that have long been used successfully in teaching the piano but which are not found in previous collections such as, for example, the Vienna Sonatinas of Mozart acquired fame so quickly in the new Schott edition, the charming Spring Sonatina by Handrock, some melodious compositions of Theodor Kirchner, and as a contemporary work Gretchaninoff’s Sonatina which has proved itself as a splendid display pieces for pupils’ concerts.
    The collection is as far as possible arranged in order of difficulty, but as frequently different movements of a work demand different levels of technique, a completely logical sequence was not possible, particularly as the individual talent of the pupil plays an important part. In order to acquaint pupils with polyphonic music some easy pieces by Handel, Telemann, Krebs and Max Reger (Canons) have been included.
    A. Corelli: Sarabande e-Moll
    A. Gretchaninoff: Nach dem Balle, op. 98/13
    A. Gretchaninoff: Wiegenlied, op. 98/9
    André: Sonatine G-Dur, op. 34
    Bolck: Sonatine G-Dur, op. 59/2
    G.F. Händel: Air B-Dur
    G.F. Händel: Impertinence g-Moll
    G.F. Händel: Menuett G-Dur
    H. Purcell: Lied
    Handrock: Frühlingssonatine F-Dur
    Haslinger: Sonatine C-Dur
    Hofmann: Ländler, op. 7/3
    J. Haydn: Sonatine G-Dur
    J. Pachelbel: Fuga C-Dur
    J.L. Dussek: Sonatine G-Dur, op. 20/1
    Kuhlau: Sonatine G-Dur, op. 88/2
    Kuhlau: Sonatinen C-Dur und G-Dur, op. 55/1 und 3
    L.v. Beethoven: Sonatine G-Dur, op. 49/2
    L.v. Beethoven: Sonatinen G-Dur und F-Dur
    M. Clementi: Sonatinen G-Dur und D-Dur, op. 36/5 und 6
    M. Reger: Fast zu keck!, op. 17/12
    Schmid: Marsch, op. 95/16
    Schmid: Scherzo, op. 53/5
    Schmitt: Sonatine A-Dur, op. 207/2
    Schytte: Sonatine D-Dur, op. 76/3
    V.D. Kirchner: Sonatine C-Dur, op. 70/1
    W. A. Mozart: Sonatinen C-Dur und G-Dur
    W.A. Mozart: Wiener Sonatine C-Dur

    Das Neue Sonatinenbuch

    25,0027,80

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