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1.
Barenreiter Notes: Manuscript And Notebook (Mozart Red)~ Manuscript

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A handsome as well as practical Notebook with alternate pages of musical staves on the left and writing lines on the right.

2.
Ludwig Van Beethoven: Für Elise (Barenreiter Edition)~ Instrumental Work (Piano)

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"Piano composition For Elise" is one of the most popular music bagatelles from the great composer which, since its origin, has appeared in many transcriptions and textual versions.

3.
Emanuel Chabrier: Habanera (Urtext)~ Instrumental Work (Piano)

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Chabrier was heralded by the young generation of composers in France, particularly by Debussy, Ra...


4.
My Progress - Music Lesson Book - Aufgabenheft Mit Stickerbogen~ Stationery (Violin)


“My Progress” is a notebook (DIN A5, 36 pages), which students and teachers can use for noting weekly tas…

5.
W. A. Mozart: Te Deum Laudamus In C K.141 (Vocal Score)~ Vocal Score (Orchestra)

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Mozart's only Te Deum, K141, was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760.

6.
Wolfgang Amadeus Mozart: Laudate Dominum (K.339) (from Vesperae solennes de Confessore) (Urtext).~ Vocal Score (Choral, Orchestra)

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Laudate Dominum (K.339) (from Vesperae solennes de Confessore) (Urtext).

7.
J. S. Bach: Cantata No. 10: Meine Seel Erhebt Den Herren - BWV 10 (Cello/Bass)~ Part (Double Bass)

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With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke.

8.
J. S. Bach: Cantata No. 10: Meine Seel Erhebt Den Herren - BWV 10 (Violin I)~ Part (Violin)

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With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke.

9.
J. S. Bach: Cantata No. 10: Meine Seel Erhebt Den Herren - BWV 10 (Violin II)~ Part (Violin)

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With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke.

10.
J. S. Bach: Cantata No. 10: Meine Seel Erhebt Den Herren - BWV 10 (Viola)~ Part (Viola)

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With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke.

12.
E. Elgar: Serenade For Strings Op.20 (Violin I)~ Part (String Orchestra, Orchestra)

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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade, a scholarly-critical edition of the work is now available for the first time.

13.
E. Elgar: Serenade For Strings Op.20 (Violin II)~ Part (String Orchestra, Orchestra)

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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade, a scholarly-critical edition of the work is now available for the first time.

14.
E. Elgar: Serenade For Strings Op.20 (Viola)~ Part (String Orchestra, Orchestra)

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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade, a scholarly-critical edition of the work is now available for the first time.

15.
E. Elgar: Serenade For Strings Op.20 (Cello)~ Part (String Orchestra, Orchestra)

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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade, a scholarly-critical edition of the work is now available for the first time.

16.
E. Elgar: Serenade For Strings Op.20 (Double Bass)~ Part (String Orchestra, Orchestra)

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With Christopher Hogwood’s new edition of Elgar’s much loved Serenade, a scholarly-critical edition of the work is now available for the first time.

17.
A. Vivaldi: Gloria RV 589 (Chorus Score)~ Vocal Score (Choral, Orchestra)

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The chorus score contains no Piano reduction or solo parts - for full Vocal score (with Piano reduction) see BA7674-90. Today the “Gloria” RV 589 (BA 7674) is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period.

18.
W. A. Mozart: Te Deum Laudamus In C K.141 (Violin I)~ Part (Orchestra)

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Mozart's only Te Deum, K141, was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760.

19.
W. A. Mozart: Te Deum Laudamus In C K.141 (Violin II)~ Part (Orchestra)

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Mozart's only Te Deum, K141, was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760.

20.
W. A. Mozart: Te Deum Laudamus In C K.141 (Cello/Bass/Bassoon)~ Part (Orchestra)

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Mozart's only Te Deum, K141, was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760.


1 2 3 4 5 6 7 8 9 10  Last 
Showing Results 1-20 of 634
Page 1 of 32