Angebote zu "Liedern" (34 Treffer)

Symetrie Burian P. - Lieder. Recueil De 15 Lied...
20,30 €
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Recueil de 15 lieder sur des textes de Goethe, Weinheber, Hebel, Heine...Le langage musical de Peter Burian se situe dans la continuité de la seconde école de Vienne : Schoenberg, Berg et Webern.

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Durand Schmitt - Lied & Scherzo - Cor Et Piano
24,30 €
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21,90 € *
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Musical Category : corno

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Salabert Enesco - 14 Lieder - Chant Et Piano
18,00 €
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Musical Category : canto (o voce recit) e pianoforteparties separees : soprano, baryton et violoncelle pour lapiece die kirschen

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Schott Hosokawa T. - Lied - Flûte Et Piano
14,80 €
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The modern playing techniques required by this brilliant piece open up to the performer and the listener a colourful, subtly differentiated tonal world with quickly changing musical incidents. They reflect the penchant of Far Eastern music for nature-related imagery which is also characteristic of Toshio Hosokawa´s oeuvre.Toshio Hosokawa studied in Tokyo and Germany with Isang Yun and Klaus Huber among others. He has received numerous awards and prizes and is invited to attend many important festivals of contemporary music as a guest composer or lecturer.Hosokawa´s compositions include orchestral works, solo concertos, chamber music works, music for traditional Japanese instruments and film music.

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Edition Peters Schubert F. - Lieder Hohe Stimme...
31,40 €
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Edition de Dietrich Fischer- DieskauThis edition of Schubert´s lieder (volumes 2 to 4) contains all those lieder which were published with opus numbers during his lifetime. The combination of lieder into a group with a single opus number was made by Schubert himself; the opus number has no chronological signifiance for the lieder. Schubert was very careful in selecting the lieder which he wished to publish, and took similar pains when combining them into groups. Many of the lieder in these groups are related not only by content but also musically; for example, there is at times a meaningful succession between the keys, though this of course is only apparent in the original edition, usually for high voice. However, other considerations such as the dedicate or poet may also have been crucial for a selection. For this reason, the editors preferred to retain the choruses which Schubert included in lieder groups such as op. 52. In most cases, the original edition was for high voice.Ideally, the critical revision of the lieder was based on Schubert´s autograph, the engraver´s copy and the first edition. In some cases the autograph and first edition have been lost; this made it necessary to consult contemporary copies as well. Although some of the lieder exist not only in more than one autograph manuscript but also in different autograph versions, the editors have tried at all times to create an unambiguous reading of the lieder without making changes in the musical text. All editorial editions beyond simple corrections are indicated in the customary manner (square brackets, dotted slurs, additional accidentals in small print). Footnotes refer to information which the editors felt to be important for an understanding of the lied (e. g. discrepancies between autograph and first edition, recourse to inconsistent autograph versions, etc); in a few cases the footnotes give suggestions for performance. It was not the editor´s intention to change the musical texts for the sake of consistency, since changes of this sort run the risk of limiting and restricting the performer. The editors have attempted to create a text which does equal justice to the sources and the needs of the musician.When transposing the lieder for middle and low voice, the editors were usually able to adopt the keys in Friedländer´s edition, as well as the occasional amendations that Friedländer made, particularly in this editions for low voice. The practice of setting one octave higher a piano part which was meant to be transposed to a lower key was well-known in Schubert´s own day. Indeed, Schubert himself, when transposing a lied in ,Die schöne Müllerin to a lower key, added in writing that the accompaniment might well be played an octave higher. Franz Schubert.One problem related to performance practice is the relation between dotted and triplet rhythms. In such cases, this edition of Schubert´s lieder always follows the first editions where, as was common 18th- century practice, the dotted rhythms are visually, and hence no doubt musically, aligned with the triplets ((??) instead of (??) ).The texts of the lieder have been put into modern orthography while the punctuation has been retained. Changes made to the texts by Schubert himself have been unchanged; obvious errors have been indicated by addition of the original wording.Table des matières :Der Pilgrim, Noch in meines Lebens Lenze war ich D-Dur op. 37 Nr. 1 D 794 (Mai 1823) (Originaltonart, Tonumfang ces´ - f´´)Der Alpenjäger, Willst du nicht das Lämmlein hüten? C-Dur op. 37 Nr. 2 D 588 (Oktober 1817) (Originaltonart, Tonumfang b - g´´)Der Liedler, Gib, Schwester, mir die Harf´ herab a-Moll op. 38 D 209 (Januar 1815) (Originaltonart, Tonumfang b - g´´)Sehnsucht, Ach, aus dieses Tales Gründen h-Moll op. 39 D 636 (Anfang 1821) (Originaltonart, Tonumfang as - e´´)Der Einsame, Wann meine Grillen schwirren G-Dur op. 41 D 800 (Anfang 1825) (Originaltonart, Tonumfang d´ - g´´)Die junge Nonne, Wie braust durch die Wipfel der heulende Sturm f-Moll op. 43 Nr. 1 D 828 (Anfang 1825) (Originaltonart, Tonumfang c´ - ges´´)Nacht und Träume, Heil´ge Nacht, du sinkest nieder H-Dur op. 43 Nr. 2 D 827 (vor Juni 1823) (Originaltonart, Tonumfang dis´ - e´´)An die untergehende Sonne, Sonne, du sinkst Es-Dur op. 44 D 457 (Mai 1817) (Originaltonart, Tonumfang c´ - fis´´)Ellens Gesang I, Raste, Krieger! Krieg ist aus Des-Dur op. 52 Nr. 1 D 837 (zwischen April und Juli 1825) (Originaltonart, Tonumfang c´ -...

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Buchet Chastel Cao H./ Boisson H. - Anthologie ...
35,50 €
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Edition bilingueAu cœur du romantisme germanique, le lied incarne ses obsessions et ses passions, ses errances et ses illuminations. Miniature où se réalise l’intime fusion de la poésie et de la musique, il condense un destin en quelques instants, l’univers en un éclat.De Mozart à Berg, le présent ouvrage rassemble, dans leur version originale et pour la première fois dans une traduction française unifiée, un grand nombre de ces poèmes mis en musique. Nous retrouvons ainsi les vers qui ont inspiré les lieder les plus importants du répertoire, mais également des pièces admirables quoique moins connues. L’ensemble forme un corpus de près de sept cents poèmes, qui reflète la très grande richesse du genre. Il est augmenté, entre autres, d’un glossaire explicitant les termes clés de l’univers poétique du lied, de notices sur ses principaux interprètes (chanteurs et pianistes) et d’une discographie sélective.HÉLÈNE CAO est professeur d’histoire de la musique et d’analyse musicale au Conservatoire du XIIIe arrondissement de Paris. Elle a notamment publié Debussy (Éditions Jean-Paul Gisserot, 2001), Louis Spohr (Éditions Papillon, 2006), Thomas Adès le voyageur (Éditions MF, 2007).Ancienne élève de l’ENS-Ulm et agrégée de Lettres modernes, HÉLÈNE BOISSON est aujourd’hui traductrice indépendante.

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Barenreiter Schubert F. - Lieder Vol.6 - High V...
38,46 €
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Edition no.: BA9106ISMN: 9790006530557Editor: Dürr, WaltherLanguage(s) of work: GermanLanguage(s) of text: German, EnglishProduct format: Vocal score, Anthology, Urtext editionIncludes the following individual parts: High voice, PianoBinding: Cardboard bindingPages / Format: XLII, 164 Seiten - 30,0 x 23,0 cm Continuing the new Urtext edition of Schubert’s lieder, editor Walther Dürr now presents volume 6, for high, medium and low voice. While volumes 1 to 4 of this series contain mostly lieder that Schubert had published during his lifetime, volume 5ff. contain the remaining songs which are presented basically chronologically in the order of their Deutsch catalogue number.The lieder in this sixth volume were composed during the period between autumn 1814 and spring 1815. With ´´Nachtgesang” (D 119) and ´´Trost in Tränen” (D120) Schubert turns to the ´´Strophenlied” in its stricter sense for the first time. He develops an interest in this form parallel to his first involvement with Goethe. Schubert, during this period an assistant teacher at his father’s school, orientated himself towards the so-called ´´Berliner Liederschule”, particularly the songs of Johann Friedrich Reichardt. By the beginning of the year 1815 he drew his inspiration mainly from the texts of Theodor Körner; however he regularly still produced settings for the poetry of Goethe and Schiller.- Based on the Urtext of the ´´New Schubert Edition”- Newly engraved, clearly presented musical layout- Foreword by Walther Dürr on the history and genesis of the work as well as an explanation of the sources for each individual lied (Eng/Ger)- Includes English translations of lieder texts by Richard WigmoreContents´´Nachtgesang”, D 119´´Trost in Tränen”, D 120 / ´´Ammenlied”, D 122´´Sehnsucht”, D 123 / ´´Am See”, D 124´´Szene aus ‘Faust’”, D 126 (2nd version)´´Ballade” op. 126, D 134 / ´´Klage um Ali Bey”, D 496A´´Der Mondabend” op. post. 131, 1, D 141´´Genügsamkeit” op. post. 109,2, D 143´´Der Sänger” op. post. 117, D 149 (2nd version)´´Lodas Gespenst”, D 150´´Auf einen Kirchhof”, D 151 / ´´Minona”, D 152´´Als ich sie erröten sah”, D 153 / ´´Das Bild” op. post. 165,3, D 155´´Die Erwartung” op. post. 116, D 159 (2nd version)´´Don Gayseros”, D 93´´Sängers Morgenlied”, D 163 (1st setting)´´Sängers Morgenlied”, D 165 (2nd setting)´´Amphiaraos”, D 166´´Gebet während der Schlacht”, D 171 (1st version)´´Das war ich”, D 174 / ´´Die Sterne”, D 176´´Vergebliche Liebe”, op. post. 173, 3 / D 177´´Liebesrausch”, D 179 / ´´Sehnsucht der Liebe”, D 180Appendix I´´Szene aus ‘Faust’”, D 126 (1. version) / ´´Der Sänger”, D 149 (1st version)´´Die Erwartung”, D 159 (1. version) / ´´Gebet während der Schlacht”, D 171 (2nd version)Appendix II (lower transposition only available for high voice)´´Am See”, D 124

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Stand: 23.02.2018
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Barenreiter Schubert F. - Lieder Vol.6 - Medium...
38,45 €
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34,60 € *
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Edition no.: BA 9126ISMN: 9790006530663Editor: Dürr, WaltherLanguage(s) of work: GermanLanguage(s) of text: German, EnglishProduct format: Vocal score, Anthology, Urtext editionIncludes the following individual parts: Medium voice, PianoBinding: Cardboard bindingPages / Format: XLII, 159 S. - 30,0 x 23,0 cm Continuing the new Urtext edition of Schubert’s lieder, editor Walther Dürr now presents volume 6, for high, medium and low voice. While volumes 1 to 4 of this series contain mostly lieder that Schubert had published during his lifetime, volume 5ff. contain the remaining songs which are presented basically chronologically in the order of their Deutsch catalogue number.The lieder in this sixth volume were composed during the period between autumn 1814 and spring 1815. With ´´Nachtgesang” (D 119) and ´´Trost in Tränen” (D120) Schubert turns to the ´´Strophenlied” in its stricter sense for the first time. He develops an interest in this form parallel to his first involvement with Geothe. Schubert, during this period an assistant teacher at his father’s school, orientated himself towards the so-called ´´Berliner Liederschule”, particularly the songs of Johann Friedrich Reichardt. By the beginning of the year 1815 he drew his inspiration mainly from the texts of Theodor Körner; however he regularly still produced settings for the poetry of Goethe and Schiller.- Based on the Urtext of the ´´New Schubert Edition”- Newly engraved, clearly presented musical layout- Foreword by Walther Dürr on the history and genesis of the work as well as an explanation of the sources for each individual lied (Eng/Ger)- Includes English translations of lieder texts by Richard WigmoreContents´´Nachtgesang”, D 119´´Trost in Tränen”, D 120 / ´´Ammenlied”, D 122´´Sehnsucht”, D 123 / ´´Am See”, D 124´´Szene aus ‘Faust’”, D 126 (2nd version)´´Ballade” op. 126, D 134 / ´´Klage um Ali Bey”, D 496A´´Der Mondabend” op. post. 131, 1, D 141´´Genügsamkeit” op. post. 109,2, D 143´´Der Sänger” op. post. 117, D 149 (2nd version)´´Lodas Gespenst”, D 150´´Auf einen Kirchhof”, D 151 / ´´Minona”, D 152´´Als ich sie erröten sah”, D 153 / ´´Das Bild” op. post. 165,3, D 155´´Die Erwartung” op. post. 116, D 159 (2nd version)´´Don Gayseros”, D 93´´Sängers Morgenlied”, D 163 (1st setting)´´Sängers Morgenlied”, D 165 (2nd setting)´´Amphiaraos”, D 166´´Gebet während der Schlacht”, D 171 (1st version)´´Das war ich”, D 174 / ´´Die Sterne”, D 176´´Vergebliche Liebe”, op. post. 173, 3 / D 177´´Liebesrausch”, D 179 / ´´Sehnsucht der Liebe”, D 180Appendix I´´Szene aus ‘Faust’”, D 126 (1. version) / ´´Der Sänger”, D 149 (1st version)´´Die Erwartung”, D 159 (1. version) / ´´Gebet während der Schlacht”, D 171 (2nd version)Appendix II (lower transposition only available for high voice)´´Am See”, D 124

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Salabert Schubert F. - Truite Lied Op.32 - Viol...
6,30 €
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Musical Category : violino e pianoforte

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Stand: 18.12.2017
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Durand Wagner - Wesendonck Lieder 5 Poemes - So...
12,70 €
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Musical Category : canto (o voce recit) e pianoforte

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Stand: 18.12.2017
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