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Enführung Aus Dem Serail, 1 DVD
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Mozart composed his Singspiel “Die Entführung aus dem Serail” in 1781, encouraged by no one less than the Austrian emperor Joseph II in order to emphasise the importance of this “national” form of music theatre as opposed to the Italian opera. It was a great success during Mozart’s lifetime and has until today lost none of its magic. In 1976 the Deutsche Oper Berlin presented a new stage direction, after Gustav Rudolf Sellner’s had been played there for many years, by the renowned Günther Rennert. Besides widely known soloists like Horst Laubenthal and Zdzisława Donat, or the actor Hans Peter Hallwachs as Selim, the star of the evening was undoubtedly the Finnish multi-talented bass Martti Talvela. The premiere in December 1976 was recorded live and broadcast on ZDF (Zweites Deutsches Fernsehen).

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Octet (music)
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High Quality Content by WIKIPEDIA articles! In music, an octet is a musical ensemble consisting of eight instruments or voices, or a musical composition written for such an ensemble. Octets in classical music are one of the largest groupings of chamber music. They tend to be scored in one of the following arrangements: String Octet - This arrangement is made up entirely of strings. Felix Mendelssohn's Octet Op. 20 is an example, as is the string octet by Dmitri Shostakovich. o Double quartet - Double quartets are made up of two string quartets, often arranged antiphonally. Louis Spohr composed such octets, as did George Enescu. Wind Octet - Usually scored for 2 oboes, 2 clarinets, 2 horns, and 2 bassoons, Mozart and Beethoven composed in this genre, also known as Harmonie. Igor Stravinsky's wind octet is in an unusual grouping of flute, clarinet, two bassoons, two trumpets, and two trombones. Wind and String Octet - a combination of forces, popularized by Franz Schubert (whose Octet is for clarinet, bassoon, horn, violins, viola, cello, and double bass).

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Samuel Ramey
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Samuel Edward Ramey (born March 28, 1942 in Colby, Kansas) is an American operatic bass with a long, distinguished career.During his best years, he was greatly admired for his range and versatility, having possessed a sufficiently accomplished bel canto technique to enable him to sing the music of Handel, Mozart, Rossini, yet power enough to handle the more overtly dramatic roles written by Verdi and Puccini. He married soprano Lindsey Larsen on June 29, 2002.Samuel Ramey is a 1960 graduate of Colby High School in the town of Colby, Kansas. He studied music in high school and in college at Kansas State University, as well as at Wichita State with Arthur Newman. In College at Kansas State, Ramey was a member of the Kappa Sigma Fraternity.

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Gerald Finley
39,00 € *
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Gerald Finley (born 30 January 1960) is a Canadian bass-baritone opera singer. He was born in Montreal and received his musical education in St. Matthew's Anglican Church, Ottawa, the University of Ottawa, King's College, Cambridge and the Royal College of Music in London, England. The sometime organist of Westminster Abbey, Sir William Mckie, who lived during his last years in Ottawa and who was Finley's great-uncle, encouraged him in his early musical activities. He is particularly renowned for his interpretations of Mozart roles such as Guglielmo, Papageno, Figaro, the Count and Don Giovanni. He made his New York debut at the Metropolitan Opera on January 24, 1998 in the role of Papageno in Die Zauberflöte.

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Gerald Finley
45,00 € *
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Gerald Finley (born 30 January 1960) is a Canadian bass-baritone opera singer. He was born in Montreal and received his musical education in St. Matthew's Anglican Church, Ottawa, the University of Ottawa, King's College, Cambridge and the Royal College of Music in London, England. The sometime organist of Westminster Abbey, Sir William Mckie, who lived during his last years in Ottawa and who was Finley's great-uncle, encouraged him in his early musical activities. He is particularly renowned for his interpretations of Mozart roles such as Guglielmo, Papageno, Figaro, the Count and Don Giovanni. He made his New York debut at the Metropolitan Opera on January 24, 1998 in the role of Papageno in Die Zauberflöte.

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Triosonate I in Eb
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Bach composed the Trio Sonatas for organ BWV 525 – 530 between 1727 and 1730 when he was Thomaskantor in Leipzig. Bach’s first biographer Johannn Nikolaus Forkel states that he composed them for his son Wilhelm Friedemann, “who had to practice them in order to become the great organist he later turned into. One cannot say enough about their beauty.“ As early as the middle of the 18th century, the first arrangement for violin, violoncello and bass was written. Countless versions for other instruments followed. Mozart arranged three movements for violin, viola and violoncello. In the 20th century Bartók and Kabalevsky made versions for piano solo. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or flute). Bach’s Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato – it rather represents a musical unit; slight tonguing won’t hurt the line. Likewise, the staccato dots do not always indicate short notes – they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it – the movements could hardly be more diverse in mood and character. To quote Forkel again: “One cannot say enough about their beauty.“ Olaf Mühlenhardt, 3/2005 Instrumentation: 3 saxophones (SABar/SAT) BWV 525

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Mozart als Theoretiker der Harmonielehre
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Mozart hat in Wien mehrere Schüler in Grundlagen des musikalischen Satzes unterwiesen. Die erhaltenen Satzübungen mit Korrekturen erweisen ihn als einen versierten Lehrer mit systematischem Weitblick und methodischem Geschick. Dieses Buch unter-sucht die Prinzipien von Mozarts Unterricht und rekonstruiert durch Kontextualisierung mit zeitgenössischen Lehrwerken Mozarts Position zwischen älterer Generalbasslehre und neuerer Harmonielehre. Die unter Mo-zarts Namen posthum gedruckte »Kurze Ge-neralbass-Lehre«, die bisher als unecht angese-hen wurde, steht den Prinzipien, die Mozarts Unterricht zugrunde lagen, nahe: Ihre Echt-heit ist daher nicht mehr auszuschliessen. Sie wird hier in Gegenüberstellung mit der ver-wandten Generalbasslehre des Mozartzeitge-nossen Johann Georg Albrechtsberger abge-druckt und erläutert. Mozart als ›Musiktheore-tiker‹ – das ist eine neue Facette im Bild dieser faszinierenden Künstlerpersönlichkeit.****************In Vienna, Mozart introduced several students to the basics of musical composition. The preserved and corrected compositional exercises prove him to be a skilled teacher with a systematic foresight and a methodical talent. This book analyzes the principles of Mozart’s teaching and reconstructs Mozart’s position between former figured bass theory and modern harmony theory by contextualizing it in relation to contemporary instructional works. The »Kurze Generalbass-Lehre« pub-lished posthumously under the name of Mo-zart and regarded so far as inauthentic, follows Mozart’s basic teaching principles: thus, ist authenticity cannot be completely ruled out any longer. It is printed and explained in this book in comparison with the related figured bass theory of Mozart’s contemporary Johann Georg Albrechtsberger. Mozart as a music theorist – this is a new facet of this fascinating artist.

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Eine kleine Nachtmusik
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The serenade 'Eine kleine Nachtmusik' in G major is one of the most famous and most popular works by Wolfgang Amadeus Mozart and generally one of the most popular works of 'classical' music. Everything of 'Eine kleine Nachtmusik' seems to be simple, entertaining and not demanding. But it is exactly this effect that is the result of a great knowledge of art and extraordinary artistic skills. Instrumentation: 2 violins, viola, cello and double bass KV 525

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Finale
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With the invention of the saxophone in the early 1840s, transcriptions are useful to present day saxophonists who wish to perform music of various styles and composers, and are thus an important part of the saxophone repertoire. One source of music to transcribe is the wind music of the Classical era. Mozart’s Finale from Serenade in B-flat, KV 361 of the early 1780s was originally scored for paired oboes, clarinets, basset horns (now obsolete), and bassoons, plus four horns and double bass. The work was later performed for eight wind players. The Serenade has also been called “Gran Partita”, implying music for the outdoors. Since one original intent for the saxophone was to replace less-voluminous woodwinds of French military/marching bands, it seems feasible that saxophones, while also handling well the virtuoso demands of the piece, are a good choice for this transcription. Two objectives were in mind while transcribing the Finale. One was to produce a relatively clean manuscript with a minimum of articulation and dynamic markings so as to allow interpretation by the performers. The articulation markings placed at the beginning of the work are provided only as suggestions. Secondly, the melodies were divided among all parts, rather than a solo featuring just the soprano saxophone. The Finale, a molto allegro in rondo form, should sparkle with cheerful charm and wit. Indoors or outdoors, saxophonists should strive for the lightness and grace so prevalent in much of Mozart’ timeless music. Instrumentation: 4 saxophones (SATBar) KV 361

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