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CASIO GP-310BKC7 HYBRID ΠΙΑΝΟ ΗΛΕΚΤΡΙΚΟ
Το υψηλής ποιότητας υβριδικό πιάνο, CELVIANO Grand Hybrid GP-310 – κατασκευασμένο σε συνεργασία με την C. Bechstein – αναπαράγει ακόμα και τις πιο λεπτές εκφάνσεις που χαρακτηρίζουν τον ήχο παγκοσμίως διάσημων grand pianos.
€3.200,00€3.500,00CASIO GP-310BKC7 HYBRID ΠΙΑΝΟ ΗΛΕΚΤΡΙΚΟ
€3.200,00€3.500,00Άμεσα Διαθέσιμο
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IGS AUDIO ONE LEVELING AMPLIFIER OPTICAL COMPRESSOR
One Leveling Amplifier
€1.700,00€1.900,00IGS AUDIO ONE LEVELING AMPLIFIER OPTICAL COMPRESSOR
€1.700,00€1.900,00Διαθέσιμο σε 7-15 ημέρες
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IGS AUDIO V8 COMPRESSOR
Smooth and gentle compression
€2.900,00€3.100,00IGS AUDIO V8 COMPRESSOR
€2.900,00€3.100,00Διαθέσιμο σε 7-15 ημέρες
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IGS AUDIO MULTICORE MULTIBAND COMPRESSOR
Three bands of classic analog VCA compression provide an infinite field of possibilities to shape the sound.
€3.550,00€3.700,00IGS AUDIO MULTICORE MULTIBAND COMPRESSOR
€3.550,00€3.700,00Διαθέσιμο σε 7-15 ημέρες
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IGS AUDIO VOLFRAM LIMITER STEREO FET COMPRESSOR
The Volfram Limiter is a dual mono version of the legendary 1176 archetype.
€2.000,00€2.200,00IGS AUDIO VOLFRAM LIMITER STEREO FET COMPRESSOR
€2.000,00€2.200,00Διαθέσιμο σε 7-15 ημέρες
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IGS AUDIO ZENER DIODES MASTERING COMPRESSOR
That’s all you need to compress your mix.
€2.900,00€3.100,00IGS AUDIO ZENER DIODES MASTERING COMPRESSOR
€2.900,00€3.100,00Διαθέσιμο σε 7-15 ημέρες
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€14,00
€15,60Διαθέσιμο σε 1-3 ημέρες
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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
€5,60€6,20Liszt – Ungarische Rhapsodie No 1
€5,60€6,20Διαθέσιμο σε 1-3 ημέρες
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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€12,00€13,30Szeleny – Nocturne
€12,00€13,30Διαθέσιμο σε 1-3 ημέρες
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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€17,60€19,50Strawinsky – L` Oiseau De Feu
€17,60€19,50Διαθέσιμο σε 1-3 ημέρες
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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€22,40€24,90Feuillard – Daily Exercises for Violoncello
€22,40€24,90Διαθέσιμο σε 1-3 ημέρες
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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€36,90€41,00Διαθέσιμο σε 1-3 ημέρες
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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€32,60€36,20Piano music by female composers
€32,60€36,20Διαθέσιμο σε 1-3 ημέρες
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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€22,40€24,90Διαθέσιμο σε 1-3 ημέρες
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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€25,00€27,80Das Neue Sonatinenbuch
€25,00€27,80Διαθέσιμο σε 1-3 ημέρες
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Sutermeister – Capriccio
8 pages€10,00€11,10Sutermeister – Capriccio
€10,00€11,10Διαθέσιμο σε 1-3 ημέρες
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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)€18,90€21,00Διαθέσιμο σε 1-3 ημέρες
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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€18,90€21,00Bach – Notebook of Anna Magdalena
€18,90€21,00Διαθέσιμο σε 1-3 ημέρες
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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€34,20€38,00Διαθέσιμο σε 1-3 ημέρες
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Say – Violin Concerto, “1001 Nights In The Harem”
My Violin Concerto consists of four movements whose inspiration is loosely connected with Scheherazades One Thousand and One Nights. The first movement is set inside the harem; a variety of women from the harem are introduced, each with her own different personality. The second movement is a frenzy of dance in effect a party night with an abundance of different types of dance music. The third movement depicts the next morning and consists primarily of variations on a well-known Turkish song. The fourth movement begins dramatically, but develops during the course of the movement more and more into a reminiscence of all the previous events and the work culminates dreamily in a happy mood with sensuous oriental sounds.As appropriate for an oriental soundscape, the orchestra includes a series of Turkish percussion instruments such as a kudüm or bendir, but also glockenspiel, marimba und vibraphone, celesta and harp. It is however the solo violin which tells the story and also accompanies the listener through the entire work. The violin part is highly virtuoso and unites the four movements into an intensely atmospheric whole in which the solo violin soars off into a solo cadenza between each movement, sometimes accompanied by one of the percussion instruments.As is customary, the present piano reduction is initially intended as an aid for the study of this work, but during my tour programmes with Patricia Kopatchinskaya and Burhan Öçal we have utilised this material to create a trio version for violin, piano and percussion. Faz?l Say
I Allegro · Cadenza
II Allegro assai · Cadenza
III Andantino
IV (ohne Satzbezeichnung) · Coda (Andantino)€49,40€54,80Say – Violin Concerto, “1001 Nights In The Harem”
€49,40€54,80Διαθέσιμο σε 1-3 ημέρες
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Baroque Keyboard Anthology
J.-P. Rameau: Menuet en Rondeau
C. de Seixas: Minuete
H. Purcell: Prelude
H. Purcell: Minuet
H. Purcell: A New Irish Tune
J.C.F. Fischer: Praeludium harpeggiato
J. Blow: Gavot
Anonymous: Musette
G.F. Händel: Impertinence
J. Barrett: Minuet
G.F. Händel: Sarabande
N. Pasquali: Air from Judas Macchabeus
D. Buxtehude: Saraband
C. Balbastre: Joseph est bien marié
J.P. Kirnberger: Minuetto in Contrap, alla 8
Durocher: Prelude
Durocher: La Joyeuse
Durocher: Tamborin
A.H. Wenck: Andante
G.P. Telemann: Fantasie D Major TWV 33:14 (Gravement
Gayment
Allegrement)
D. Scarlatti: Sonata K. 322
F. Couperin: Le Petit-Rien€23,40€26,00Baroque Keyboard Anthology
€23,40€26,00Διαθέσιμο σε 1-3 ημέρες
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Aria AWN-15 Blue Shade
Top: SpruceBack & Side: MerantiNeck: NatoFingerboard: IronwoodNumber of Frets: 20Scale Length: 650mmBridge: IronwoodHardware: ChromeElectronics: Aria MG-30 (3-band EQ with tuner)€135,00€150,00Aria AWN-15 Blue Shade
€135,00€150,00Διαθέσιμο σε 1-3 ημέρες
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.