Προϊόντα

  • 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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  • 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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  • 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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  • Sutermeister – Capriccio

    10,0011,10

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  • Chopin – Liszt – Hiller – 33 easy piano pieces with practice tips Vol.5

    With the new Urtext Primo series, Wiener Urtext Edition intends to bridge the gap between studying a piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach’s Minuet in G (BWV Anh. 116), Mozart’s Minuet in F (KV 5) or Schumann’s Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume in the series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills.
    The pieces’ range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons.
    The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.
    This volume presents easy pieces for piano by great virtuosos. It unites the two greatest, and perhaps best-known, pianists of the 19th century, Frédéric Chopin and Franz Liszt. The technical requirements of these works are very moderate without muting the stylistic characteristics of these two composers. The ability to play an original composition by Liszt in the first years of lessons can be very motivating for the piano student. Also featured in this collection are works by the virtuoso Ferdinand Hiller, to whom Robert Schumann dedicated his Piano Concerto. As in many of the works by Liszt and Chopin, Hiller’s works are frequently reminiscent of folk music. His Irländisches Lied and Fandango, included in the collection, are fine examples of 19th-century ‘world music’.
    Chopin Frédéric: Bourée I in G (KK VIIb/1)
    Chopin Frédéric: Bourée II in A (KK VIIb/2)
    Chopin Frédéric: Cantabile in B (KK IVb/6)
    Chopin Frédéric: Walzer / Waltz / Valse in a (KK IVb/11)
    Chopin Frédéric: Sostenuto in Es (KK IVb/10)
    Chopin Frédéric: Prélude in e (op. 28/4)
    Chopin Frédéric: Prélude in h (op. 28/6)
    Chopin Frédéric: Prélude in A (op. 28/7)
    Chopin Frédéric: Prélude in c (op. 28/20)
    Chopin Frédéric: Polonaise in B (KK IVa/1
    Chopin Frédéric: Mazurka in g (op. 67/2)
    Chopin Frédéric: Mazurka in F (op. 68/3)
    Chopin Frédéric: Mazurka in As (op. 7/4a)
    Liszt Franz: La cloche sonne
    Liszt Franz: Ländler in As
    Liszt Franz: Andantino in As
    Liszt Franz: Ich liebe Dich
    Liszt Franz: Andante in Des
    Liszt Franz: Wiegenlied / Lullaby / Chant du berceau
    Liszt Franz: Sancta Dorothea
    Liszt Franz: Ave Maria
    Liszt Franz: Weihnachtslied / Christmas carol / Chant de Noel
    Liszt Franz: Die Hirten an der Krippe / The shepherds at the manger / Les Bergers à la crèche
    Liszt Franz: Adagio religioso
    Hiller Ferdinand von: Irländisches Lied / Irish Song / Chant irlandais (op. 117/2)
    Hiller Ferdinand von: Schottisches Lied / Scottish Song / Chant écossais (op. 117/19)
    Hiller Ferdinand von: Italienisches Lied / Italien Song / Chant italien (op. 117/31)
    Hiller Ferdinand von: Polnisches Lied / Polish Song / Chant polonaise (op. 117/18)
    Hiller Ferdinand von: Russisches Lied / Russian Song / Chant russe (op. 117/26)
    Hiller Ferdinand von: Fandango (op. 117/28)
    Hiller Ferdinand von: Ballade (op. 117/16)
    Hiller Ferdinand von: Schlummerlied / Slumber Song / Berceuse (op. 66/I/2)
    Hiller Ferdinand von: Lied / Song (op. 66/II/2)

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  • Bach – Notebook of Anna Magdalena

    The 1725 Notebook of Anna Magdalena Bach is chiefly famous for pieces such as the two minuets in G major and G minor (Nos. 4 and 5 in the present collection) and the Aria di Giovannini. These three, indeed the majority of the pieces, were not composed by J. S. Bach but by other, often fairly unknown musicians. Though begun by her husband, Anna Magdalena Bach compiled the Notebook for her own domestic use. A definite asset to the collection is the Suite de Clavecin by Christian Petzold, organist at the Dresden court, which contains the two minuets mentioned above.
    Komponist unbekannt: Menuet (BWV Anh. 113)
    C. Petzold: Menuet (BWV Anh. 114)
    C. Petzold: Menuet (BWV Anh. 115)
    F. Couperin: Rondeau (Les Bergeries) (BWV Anh. 183)
    Komponist unbekannt: Menuet (BWV Anh. 116)
    Polonoise (BWV Anh. 117a)
    Polonoise (BWV Anh. 117b)
    Polonoise (BWV Anh. 119)
    J.S. Bach: Choral (Wer nun den lieben Gott lässt walten) (BWV 691)
    Gib dich zufrieden und sei stille (BWV 510-512)
    Komponist unbekannt: Menuet (BWV Anh. 120)
    Menuet (BWV Anh. 121)
    C.P.E. Bach: Marche (BWV Anh. 122
    Polonoise (BWV Anh. 123)
    Marche (BWV Anh. 124)
    Polonoise (BWV Anh. 125)
    J.G.H. Bach?: Aria (So oft ich meine Tobackspfeife) (BWV 515)
    Menuet fait par Mons. Böhm
    Komponist unbekannt: Musette (BWV Anh. 126)
    C.P.E. Bach: Marche (BWV Anh. 127)
    Komponist unbekannt: Polonoise (BWV Anh. 128)
    G.H. Stölzel: Bist du bei mir (Fassung für Singstimme und Tasteninstrument) (BWV 508)
    Bist du bei mir (Fassung für Tasteninstrument) (BWV 508) -J.S. Bach: Aria (BWV 988/1)
    C.P.E. Bach: Solo per il Cembalo (BWV Anh. 129)
    J.A. Hasse: Polonoise (BWV Anh. 130)
    J.S. Bach: Praeludium (BWV 846/1)
    Komponist unbekannt: Warum betrübst du dich (BWV 516)
    J.S. Bach: Rezitativo und Aria (aus BWV 82)
    Komponist unbekannt: Schaf’s mit mir, Gott (BWV 514)
    Komponist unbekannt: Menuet (BWV Anh. 132)
    Aria di Giovannini (BWV 518)
    J.S. Bach: Choral (BWV 299)
    Choral (Notation für Tasteninstrument) (BWV 299)
    Choral (BWV 299)
    Komponist unbekannt: Wie wohl ist mir (BWV 517)
    Aria (BWV 509)
    O Ewig, du Donnerwort (BWV 513) (Bass: J.S. Bach)
    Anhang: C. Petzold: Suite de Clavecin: Prélude
    Allemande
    Courante
    Sarabande
    Bourrée
    Menuet alternativement
    Menuet 2
    Gigue
    Passepied alternativement
    Trio

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  • Orchester Probespiel, Test Pieces for orchestral Auditions

    In Orchestern und an den ausbildenden Hochschulen besteht seit langem Bedarf an einer praktischen und leicht zugänglichen Ausgabe der beim Probespiel vorgelegten Orchesterstellen. Der Inhalt dieses Heftes geht zurück auf Anregungen des Deutschen Musikrates und basiert auf statistischen Erhebungen der Deutschen Orchestervereinigung e.V. (DOV) sowie auf der langjährigen Berufserfahrung der Herausgeber als Orchestermusiker und Hochschulpädagogen.
    Auf der gesondert erhätlichen CD sind die jeweiligen Werkausschnitte (Instrument mit Orchester) enthalten.
    TUTTISTELLEN: L.v. Beethoven: Sinfonie Nr. 3 Es-Dur op. 55 (“Eroica”), 3. und 4. Satz
    L.v. Beethoven: Sinfonie Nr. 5 c-Moll op. 67, 2. und 3. Satz
    L.v. Beethoven: Sinfonie Nr. 9 d-Moll op. 125, 4. Satz
    A. Berg: Wozzeck, 2. Akt
    J. Brahms: Sinfonie Nr. 2 D-Dur op. 73, 4. Satz
    A. Bruckner: Sinfonie Nr. 4 Es-Dur (“Romantische”), 4. Satz
    A. Bruckner: Sinfonie Nr. 6 A-Dur, 1. Satz
    A. Bruckner: Sinfonie Nr. 7 E-Dur, 1. und 4. Satz
    W.A. Mozart: Sinfonie Nr. 40 g-Moll KV 550, 1. und 4. Satz
    W.A. Mozart: Sinfonie Nr. 41 C-Dur (“Jupiter”) KV 551, 4. Satz
    W.A. Mozart: Die Hochzeit des Figaro KV 492, Ouvertüre
    W.A. Mozart: Die Zauberflöte KV 620, Ouvertüre
    F. Schubert: Sinfonie Nr. 8 C-Dur, 3. und 4. Satz
    B. Smetana: Die verkaufte Braut, Ouvertüre
    R. Strauss: Till Eulenspiegels lustige Streiche op. 28
    R. Strauss: Don Juan op. 20
    R. Strauss: Ein Heldenleben op. 40
    R. Strauss: Salome op. 54, 4. Szene
    R. Strauss: Der Rosenkavalier op. 59, 2. Aufzug
    G. Verdi: Rigoletto, 1. Akt, Nr. 1 (Chor)
    G. Verdi: La Traviata, 1. Akt, 4. Szene; 2. Akt, 2.,7.und 8. Szene
    G. Verdi: Die Macht des Schicksals, Ouvertüre
    G. Verdi: Aida, 4. Akt
    G. Verdi: Othello, 4. Akt
    G. Verdi: Falstaff, 3. Akt, 1. Teil
    R. Wagner: Die Meistersinger von Nürnberg, 1. Akt, 3. Szene; 2. Akt, 7. Szene (“Prügelszene”)
    R. Wagner: Die Walküre, 1. Akt, Vorspiel, 1. und 2. Szene; 2. Akt, Vorspiel, 1. und 5. Szene; 3. Akt, 1. Szene
    R. Wagner: Siegfried, 2. Akt, 3. Szene; 3. Akt, Vorspiel
    C.M.v. Weber: Der Freischütz op. 77, Ouvertüre
    C.M.v. Weber: Euryanthe op. 81, Ouvertüre
    C.M.v. Weber: Oberon, Ouvertüre
    SOLOSTELLEN: A. Berg: Wozzeck, 3. Akt
    A. Berg: Lulu, 1. Akt, Prolog; 2. Akt, 1. Szene
    K.A. Hartmann: Sinfonie Nr. 3, Anfang, Largo ma non troppo
    G. Mahler: Sinfonie Nr. 1 D-Dur, 3. Satz
    H. Pfitzner: Palestrina, 1. Akt, 3. u. 5. Szene
    R. Strauss: Ariadne auf Naxos op. 60, 2. Akt
    I. Strawinsky: Pulcinella-Suite, 7. Akt
    G. Verdi: Rigoletto, 1. Akt, Nr. 3 (Duetto)
    B.A. Zimmermann: Die Soldaten, 3. Akt, 4. Szene

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