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Edited by Louis Moyse, it includes the score and separate flute part.","brand":"G Schirmer","offers":[{"title":"Default Title","offer_id":46965354594598,"sku":"73999910308","price":10.99,"currency_code":"USD","in_stock":true}]},{"product_id":"kuhlau-f-three-grand-solos-op-57-nos-1-3","title":"Kuhlau, F :: Three Grand Solos op. 57, Nos. 1-3","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003eThree Grand Solos op. 57, Nos. 1-3\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eKuhlau, F\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3 Grands Solos op. 57, Nos. 1-3\u003c\/p\u003e","brand":"Carolyn Nussbaum Music Company","offers":[{"title":"Default Title","offer_id":46965452800294,"sku":"798408045500","price":14.99,"currency_code":"USD","in_stock":true}]},{"product_id":"beethoven-l-flotenserenade-op-25-flute-serenade-op-25","title":"Beethoven, L :: Flotenserenade op. 25 [Flute Serenade op. 25]","description":"\u003cp\u003eWhat occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? 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Parts are sold separately.\u003c\/p\u003e","brand":"G Henle Verlag","offers":[{"title":"Default Title","offer_id":46965805875494,"sku":"884088274566","price":11.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/C000884088274566_d.jpg?v=1697467184"},{"product_id":"vivaldi-a-piccolo-concerto-in-c-major-rv-443-op-44-no-11-study-score","title":"Vivaldi, A :: Piccolo Concerto in C major RV 443, op. 44, No. 11 Study Score","description":"\u003cspan class=\"NameInDesc\"\u003ePiccolo Concerto in C major RV 443, op. 44, No. 11 Study Score\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eVivaldi, A\u003c\/span\u003e\u003cbr\u003eStudy score only. No parts included. 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The study score is sold separately.\u003c\/p\u003e","brand":"G Henle Verlag","offers":[{"title":"Default Title","offer_id":46966031810854,"sku":"884088246567","price":23.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/C000884088246567_d.jpg?v=1697469452"},{"product_id":"griffes-c-poem","title":"Griffes, C :: Poem","description":"\u003cspan class=\"NameInDesc\"\u003ePoem\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eGriffes, C\u003c\/span\u003e\u003cbr\u003eStudy score of Griffes Poem.","brand":"Carolyn Nussbaum Music Company","offers":[{"title":"Default Title","offer_id":46966182150438,"sku":"73999347319","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/C000073999347319_d.jpg?v=1697471477"},{"product_id":"martin-f-ballade-2","title":"Martin, F :: Ballade","description":"\u003cspan class=\"NameInDesc\"\u003eBallade\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eMartin, F\u003c\/span\u003e\u003cbr\u003eBallade composed by Frank Martin for flute, piano, and strings with standard notation. 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Written for intermediate to advanced players; includes conductor's score, solo flute part and full wind ensemble parts.","brand":"ALRY Publications","offers":[{"title":"Default Title","offer_id":46966291661094,"sku":"9790302106555","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/700000000ALFB105_d.jpg?v=1697472776"},{"product_id":"monnoye-b-leontovych-m-pat-a-carol","title":"Monnoye, B; Leontovych, M :: Pat-a-Carol","description":"\u003cspan class=\"NameInDesc\"\u003ePat-a-Carol\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eMonnoye, B; Leontovych, M\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eArranger extraordinaire Judy Nishimura has done it again, this time with a combination of Pat-a-Pan and Carol of the Bells, with a sprinkling of Smetana's Moldau mixed in. This short piece was intended to be an overture - a quick, bright start to a Christmas concert. Even though the entire work is written in minor keys, there's nothing brooding or sad about it. 2012 NFA Newly Published Music Competition - FINALIST.\u003c\/p\u003e\u003cp\u003eInstrumentation: Piccolo, 3 C Flutes, Alto Flute (or C Flute), Bass Flute\u003c\/p\u003e","brand":"ALRY Publications","offers":[{"title":"Default Title","offer_id":46967353377062,"sku":"9790302107866","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790302107866_d.jpg?v=1697488103"},{"product_id":"cambini-g-trios-op-26-nos-4-6","title":"Cambini, G :: Trios op. 26: Nos. 4-6","description":"\u003cspan class=\"NameInDesc\"\u003eTrios op. 26: Nos. 4-6\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eCambini, G\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eCambini is credited with 'inventing' the woodwind quintet (fl\/ob\/clar\/horn\/bsn). In his turbulent life, he composed a large number of chamber works as well as symphonies, concerti, and operas. This edition, believed to be the first since the undated original, was prepared from a set of period parts held in Paris, and carefully corrects a great number of Cambini's copyist's inconsistencies in phrasing and articulation.\u003c\/p\u003e","brand":"ALRY Publications","offers":[{"title":"Default Title","offer_id":46967467376934,"sku":"9790302110941","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790302110941_d.jpg?v=1697488683"},{"product_id":"telemann-gp-suite-in-a-minor-5","title":"Telemann, GP :: Suite in A Minor","description":"\u003cspan class=\"NameInDesc\"\u003eSuite in A Minor\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eTelemann, GP\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eLittle is known about the Suite in A Minor. It may date from the first decade of the 18th century, but wasn t even published until 1936, when a general re-discovery of Telemann s music eventually led to huge popularity for this concerto-suite for flute. It was probably written in response to a patron s interest in music from Paris. Even though the work is opened by a French style Ouverture that sets up our expectations for a suite of standard dances like the courante, sarabande, or gigue, Telemann uses a cosmopolitan blend of French (Les Plaisirs, Rjouissance and the Menuets), Breton (Passepieds), Italian (Air  l Italien) and Polish (Polonaise) music.\u003c\/p\u003e","brand":"ALRY Publications","offers":[{"title":"Default Title","offer_id":46967474356518,"sku":"9790302113089","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790302113089_d.jpg?v=1697488971"},{"product_id":"mozart-wa-quartette-quartets-fur-flote-violine-viola-und-violoncello-kv-285-285a-anh-171-285b-kv-298-score","title":"Mozart, WA :: Quartette [Quartets] fur Flote, Violine, Viola und Violoncello - KV 285, 285a, Anh. 171 (285b), KV 298 - Score","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003eQuartette [Quartets] fur Flote, Violine, Viola und Violoncello - KV 285, 285a, Anh. 171 (285b), KV 298 - Score\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eMozart, WA\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eIn Mozart s compositions in the area of chamber music, the quartets with one wind instrument (flute or oboe, violin, viola and violoncello) certainly occupy the most modest place. This is perhaps because these quartets were all lightly and often enough unwillingly composed for a commission, for a specific occasion or for amusement.\u003c\/p\u003e\u003cp\u003eThe first three flute quartets (K. 285, K. 285a and K. App. 171\/285b) were produced during Mozart s stay in Mannheim 30 October 1777 to 14 March 1778. Johann Baptist Wendling, a flautist and a member of the Mannheim court orchestra and someone whose house Mozart frequented, passed on to Mozart, probably at the beginning of December 1777, the commission of the rich but otherwise unknown Dutch music lover De Jean (Dechamps or Deschamps?) to compose for him for a fee of 200 Gulden three small, light and short concerti and two quartets for the flute (cf. Mozart s letter to his father of 10 December 1777). De Jean was staying in Mannheim at this time and his offer was certainly most welcome. The extremely generous payment proposed by De Jean would no doubt help to prolong the costly stay of Mozart and his mother in Mannheim, as Leopold Mozart suggested in a letter to his son of 18 December 1777. Mozart seems to have started quickly on the composition of these works, for on 18 December 1777 he writes to his father: One quartet for the Indian Dutchman, for that true friend of mankind, is almost ready too . This must refer to the flute quartet in D major, K. 285, whose autograph manuscript (at present lost) according to Kochel-Einstein (Kochel, 3rd edn., p. 356) bears the dating Mannheim il 25 decre. 1777.\u003c\/p\u003e\u003cp\u003eBarenreiter Urtext presents these four quartets after thorough research of all manuscripts and publications available. The new edition of K. 298 follows the autograph manuscript without exception. K. 285 used two copies as primary sources; one available from the Neue Mozart-Ausgabe (NMA VIII\/20\/2), and the other, preferential copy from the Staatsbibliothek Preussischer Kulturbesitz Berline\/West. K. 285a the first edition printed by Artaria, Vienna, 1292 was used. Finally, K. App. 171 (285b) has been edited as a conflated text from all the relevant sources, as neither Bossler s first edition (1788) nor any of the other sources could alone be considered sufficiently reliable.\u003c\/p\u003e\u003cp\u003eBarenreiter Urtext presents the parts and scores separately - the parts in full-size, the score in small study-size. The present item is the study score.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eQuartet in D KV 285\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQuartet in G KV 285a\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQuartet in C KV Anh. 171 (285b)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQuartet in A KV 298\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967498277158,"sku":"9790006201280","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006201280_d.jpg?v=1697489926"},{"product_id":"bach-js-brandenburgisches-konzert-nr-4-g-dur-brandenburg-concerto-no-4-in-g-major-bwv-1049-study-score","title":"Bach, JS :: Brandenburgisches Konzert Nr. 4 G-Dur [Brandenburg Concerto No. 4 in G major] BWV 1049 - Study Score","description":"\u003cspan class=\"NameInDesc\"\u003eBrandenburgisches Konzert Nr. 4 G-Dur [Brandenburg Concerto No. 4 in G major] BWV 1049 - Study Score\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eBach, JS\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eApart from the title of the work, all editorial additions are indicated as such: letters by italics, slurs by broken lines, and other signs by smaller or narrower engraving. All alphabetical markings taken from the source (f, p, etc.) therefore appear in normal type. Accidentals have been placed in accordance with modern rules. Further accidentals supplied by the editor, Heinrich Besseler, at his discretion (i. e. those not rendered necessary by the application of modern rules) appear in small print.\u003c\/p\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967499424038,"sku":"9790006502240","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006502240_d.jpg?v=1697489954"},{"product_id":"bach-js-brandenburgisches-konzert-nr-5-brandenburg-concerto-no-5-bwv-1050-study-score","title":"Bach, JS :: Brandenburgisches Konzert Nr. 5 [Brandenburg Concerto No. 5] BWV 1050 - Study Score","description":"\u003cspan class=\"NameInDesc\"\u003eBrandenburgisches Konzert Nr. 5 [Brandenburg Concerto No. 5] BWV 1050 - Study Score\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eBach, JS\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eLike most of the Brandenburg Concertos dedicated to Margrave Christian, Bach wrote the Fifth Brandenburg during his years at Cothen. With some degree of certainty we also know the occasion for which he wroteit. In March 1719 a two-manual harpsichord arrived in Cothen from Michael Mietke in Berlin, who doubtless built it in accordance with Bach s special instructions. To all appearances, Bach wrote the Fifth Brandenburg to display this newly-acquired instrument to his musically-minded patron.\u003c\/p\u003e\u003cp\u003eOf the Brandenburg Concertos, the Fifth merits special attention in that the keyboard instrument is assigned a prominent place among the three soloists: flute, violin and harpsichord. Bach s special treatment of the harpsichord is especially evident in the great solo cadenza of the first movement. With this work Bach produced the first keyboard concerto in music history. An extant early version of this work, BWV 1050a, allows us to conclude that Bach reworked the concerto shortly after its composition but before he copied out the dedicatory manuscript. This early version may even have originated prior to the arrival of the new harpsichord (but no earlier than the end of 1717). Its principal feature is the much shorter harpsichord cadenza in the first movement, which amounts to only eighteen bars instead of the 65 of the final version. The third movement, too, was originally four bars shorter, with bars 178 180 serving in lieu of bars 178 184 of the later version.\u003c\/p\u003e\u003cp\u003eThis edition presents both the dedicatory version of BWV 1050 and the early version (the  Fruhfassung  BWV 1050a), thereby allowing the reader to compare them in detail. This is especially useful in the case of the two cadenzas: it transpires that the early eighteen-bar cadenza (mm. 154 171 of BWV 1050a, movt. 1) is entirely non-thematic, while the bars 154 196 interpolated into the dedicatory version rework thematic material from earlier solo episodes. Obviously, few performers today will wish to dispense with the expansive cadenza of the final version. Nevertheless, we might cautiously raise the question of whether the early cadenza is, perhaps, more in keeping with movement s overall proportions.\u003c\/p\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967499456806,"sku":"9790006504923","price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006504923_d.jpg?v=1697489961"},{"product_id":"mozart-wa-die-werke-fur-flote-und-orchester-the-works-for-flute-and-orchestra-study-score","title":"Mozart, WA :: Die Werke fur Flote und Orchester [The Works for Flute and Orchestra] - Study Score","description":"\u003cspan class=\"NameInDesc\"\u003eDie Werke fur Flote und Orchester [The Works for Flute and Orchestra]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eMozart, WA\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eBarenreiter Urtext presents these compiled study scores in one book for Wolfgang Amadeus Mozart's three large concertante works for flute: the Concerto in G Major, KV 313 (285c); the Concerto in D Major, KV 314 (285d); and the Andante in C Major, KV 315 (285e).\u003c\/p\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967499686182,"sku":"9790006204717","price":27.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006204717_d.jpg?v=1697489980"},{"product_id":"mozart-wa-konzert-in-g-nach-dem-klarinettenkonzert-concerto-in-g-major-after-the-clarinet-concerto-kv-622-study-score","title":"Mozart, WA :: Konzert in G nach dem Klarinettenkonzert [Concerto in G major after the Clarinet Concerto] KV 622 - Study Score","description":"\u003cspan class=\"NameInDesc\"\u003eKonzert in G nach dem Klarinettenkonzert [Concerto in G major after the Clarinet Concerto] KV 622 - Study Score\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eMozart, WA\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eToward the end of 1791 Mozart wrote his famous concerto for basset clarinet and orchestra, known today as the Clarinet Concerto, K.622. It appeared in print for the first time ten years later, when it was published simultaneously by Breitkopf Hartel, Andre, and Sieber.\u003c\/p\u003e\u003cp\u003eIn the same year Breitkopf also published an arrangement for flute in G major by A. E. Muller, adding to the rich musical history of the early 19th century. This arrangement is now available for the first time in a modern critical edition. The editor Christopher Hogwood, an internationally renowned musicologist and expert in early music, has based his edition on the first of 1801.\u003c\/p\u003e\u003cp\u003eThis study score takes into account the performance practice of the time, and includes critical notes and an introduction.\u003c\/p\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967500407078,"sku":"9790006523641","price":42.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006523641_d.jpg?v=1697489996"},{"product_id":"bach-js-sechs-brandenburgische-konzerte-six-brandenburg-concertos-bwv-1046-1051","title":"Bach, JS :: Sechs brandenburgische Konzerte [Six Brandenburg Concertos] BWV 1046-1051","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003eSechs brandenburgische Konzerte [Six Brandenburg Concertos] BWV 1046-1051\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eBach, JS\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThe six Brandenburg Concertos BWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach s appointment in Cothen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones, different rhythms, instrumentation and of course form.\u003c\/p\u003e\u003cp\u003eThe New Bach Edition is an Urtext edition offering the world of scholarship a reliable musical text which is equally useful in performance. Prepared with the most exacting methods of source criticism, it has set new standards for modern scholarly-critical editions in the latter half of the 20th century. Work on the New Bach Edition led to the rediscovery of lost compositions and resolved many questions of authenticity in the Bach canon. Most of all, however, the close study of the sources has occasioned a large-scale revision of the chronology of Bach's life, thereby forming the basis for a new image of the composer in our time.\u003c\/p\u003e\u003cp\u003eIn each series, the volumes not only contain those works by Bach which have survived intact but also those existing as fragments. In addition to a preface, each musical volume presents a selection of the relevant sources in facsimile. It is also accompanied by a separately published critical report (German text) describing all the extant sources for each work and the manner in which they interrelate. The report also gathers together all the known facts regarding the work s genesis and lists the most important variant readings.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eForward, Editing Technique, and Commentary\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003e4 Facsimiles\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto I F-dur, BWV 1046\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto II F-dur, BWV 1047\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto III G-dur, BWV 1048\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto IV G-dur, BWV 1049\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto V D-Dur, BWV 1050\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto VI B-dur, BWV 1051\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eAppendix 1: 1st Version of Concerto I (Sinfonia F-Dur, BWV 1046a)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eAppendix 2: Early Version of Concerto V (BWV 1050a)\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967545332006,"sku":"9790006461400","price":225.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006461400_d.jpg?v=1697491501"},{"product_id":"telemann-gp-tafelmusik-i","title":"Telemann, GP :: Tafelmusik I","description":"\u003cspan class=\"NameInDesc\"\u003eTafelmusik I\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eTelemann, GP\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eIf Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.  Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day, both large and small.\u003c\/p\u003e\u003cp\u003eGeorg Philipp Telemann s Tafelmusik (originally Musique de table) is one of the last, great examples of courtly table music. A collection of 18 chamber pieces for various ensembles - orchestral overtures, quartets, trio sonatas, and solo sonatas - arranged into 3 parts, it is perhaps Telemann's most celebrated collection. Barenreiter Urtext provides the three volumes of Tafelmusik in special linen-bound editions with reliable musical text based on all available sources, information on the genesis and history of the work, valuables notes on performance practice, and a critical commentary explaining all source discrepancies and editorial decisions.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eOverture for Two Flutes, Strings, and Basso Continuo in e minor, TWV 55:e1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eQuartet for Flute, Oboe, Violin, Cello, and Basso Continuo in G Major, TWV 43:G2\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eConcerto for Flute, Violin, Strings, and Bass Continuo in A Major, TWV 53:A2\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTrio for Two Violins and Basso Continuo in E-flat Major, TWV 42:Es1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSonata for Flute and Basso Continuo in B minor, TWV 41:h4\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eConclusion for Two Flutes, Strings, and Basso Continuo, TWV 50:5\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967545561382,"sku":"9790006428144","price":205.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006428144_d.jpg?v=1697491533"},{"product_id":"telemann-gp-tafelmusik-ii","title":"Telemann, GP :: Tafelmusik II","description":"\u003cspan class=\"NameInDesc\"\u003eTafelmusik II\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eTelemann, GP\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eIf Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.  Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day, both large and small.\u003c\/p\u003e\u003cp\u003eGeorg Philipp Telemann s Tafelmusik (originally Musique de table) is one of the last, great examples of courtly table music. A collection of 18 chamber pieces for various ensembles - orchestral overtures, quartets, trio sonatas, and solo sonatas - arranged into 3 parts, it is perhaps Telemann's most celebrated collection. Barenreiter Urtext provides the three volumes of Tafelmusik in special linen-bound editions with reliable musical text based on all available sources, information on the genesis and history of the work, valuables notes on performance practice, and a critical commentary explaining all source discrepancies and editorial decisions.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eOverture for Oboe, Trumpet, Strings, and Basso Continuo in D Major, TWV 55:D1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eQuartet for Two Flutes, Recorder or Bassoon, and Basso Continuo in d minor, TWV 43:d1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto for Three Violins, Strings, and Bass Continuo in F Major, TWV 53:F1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eTrio for Flute, Oboe, and Basso Continuo in e minor, TWV 42:e2\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eSonata for Violin and Basso Continuo in A Major, TWV 41:A4\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConclusion for Oboe, Trumpet, Strings, and Basso Continuo, TWV 50:9\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967545626918,"sku":"9790006428151","price":259.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006428151_d.jpg?v=1697491537"},{"product_id":"telemann-gp-tafelmusik-iii","title":"Telemann, GP :: Tafelmusik III","description":"\u003cspan class=\"NameInDesc\"\u003eTafelmusik III\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eTelemann, GP\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eIf Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time.  Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day, both large and small.\u003c\/p\u003e\u003cp\u003eGeorg Philipp Telemann s Tafelmusik (originally Musique de table) is one of the last, great examples of courtly table music. A collection of 18 chamber pieces for various ensembles - orchestral overtures, quartets, trio sonatas, and solo sonatas - arranged into 3 parts, it is perhaps Telemann's most celebrated collection. Barenreiter Urtext provides the three volumes of Tafelmusik in special linen-bound editions with reliable musical text based on all available sources, information on the genesis and history of the work, valuables notes on performance practice, and a critical commentary explaining all source discrepancies and editorial decisions.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eOverture for Two Oboes, Bassoon, Strings, and Basso Continuo in B-flat Major, TWV 55:B1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eQuartet for Flute, Violin, Cello, and Basso Continuo in e minor, TWV 43:e2\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConcerto for Two Horns, Strings, and Bass Continuo in E-flat Major, TWV 54:Es1\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eTrio for Two Flutes and Basso Continuo in D Major, TWV 42:D5\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eSonata for Oboe and Basso Continuo in g minor, TWV 41:g6\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003e\u003cli\u003e\u003cstrong\u003eConclusion for Two Oboes, Bassoon, Strings, and Basso Continuo in B-flat Major, TWV 50:10\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/strong\u003e\u003c\/li\u003e\u003c\/ul\u003e","brand":"Barenreiter","offers":[{"title":"Default Title","offer_id":46967545659686,"sku":"9790006428168","price":205.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790006428168_d.jpg?v=1697491542"},{"product_id":"various-the-baroque-album","title":"Various :: The Baroque Album","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003eThe Baroque Album\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eVarious\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThe Baroque Album continues where The Renaissance Album ended, including 25 quartets, providing modern flute players with a wealth of music that spans the rich musical period known as the Baroque. While including music by the giants of the period (Corelli, Purcell, Vivaldi, Telemann, Handel and Bach), it also contains many pieces by less well-known but no less-competent composers. Continuing the tradition of music for 4 C flutes begun with The Renaissance Album, these works have been arranged to fit nicely within the flute's range and still retain as much of the original voicings and textures as possible. Score and 4 C flute parts.\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eAllemande and Gagliarda\u003c\/strong\u003e — Franck, M\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFili Mi, Absalon\u003c\/strong\u003e — Schutz, H\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIntrada\u003c\/strong\u003e — Schein, JH\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePraeludium\u003c\/strong\u003e — Tunder, F\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOverture\u003c\/strong\u003e — Cambert, R\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFantasia\u003c\/strong\u003e — Locke, M\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePaseos\u003c\/strong\u003e — Cabanilles, J\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSonata La Graziani\u003c\/strong\u003e — Vitali, GB\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJubilate Deo\u003c\/strong\u003e — Blow, J\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePreludio and Allemande from Trio Sonata, op. IV No. 4, 1694\u003c\/strong\u003e — Corelli, A\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMinuet, Air and Allegro from The Double Dealer\u003c\/strong\u003e — Purcell, H\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDer todtkranken und weider gesunde Hiskias (program sonata)\u003c\/strong\u003e — Kuhnau, J\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAllegro from Sinfonia IV\u003c\/strong\u003e — Scarlatti, A\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFuga\u003c\/strong\u003e — Reiche, G\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAllegro ma non Presto from Sonata 3, Il Pastor Fido\u003c\/strong\u003e — Vivaldi, A\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLargo and Allegro from Triosonate in F major\u003c\/strong\u003e — Telemann, GP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSommeil, Rondo Tendre\u003c\/strong\u003e — Rameau, JP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGrave and Allegro from Concerto II\u003c\/strong\u003e — Albicastro, H\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAllegro from Sonata a Tre\u003c\/strong\u003e — Handel, GF\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLa Paix and La Rejouissance from Royal Fireworks Music\u003c\/strong\u003e — Handel, GF\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCanon a 4 from Musical Offering, BWV 1079\u003c\/strong\u003e — Bach, JS\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKyrie, Gott Vater in Ewigkeit, BWV 669\u003c\/strong\u003e — Bach, JS\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eContrapunctus IX from The Art of Fugue, BWV 1080\u003c\/strong\u003e — Bach, JS\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVivace from Symphony in E flat\u003c\/strong\u003e — Graupner, JC\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdagio an Allegro from Sonata XI\u003c\/strong\u003e — Sammartini, G\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Falls House Press","offers":[{"title":"Default Title","offer_id":46967704387878,"sku":"9781491104521","price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009781491104521_d.jpg?v=1697494264"},{"product_id":"zuckerman-m-flute-fetish","title":"Zuckerman, M :: Flute Fetish","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003eFlute Fetish\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eZuckerman, M\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eMark Zuckerman's Flute Fetish for flute choir (in four parts - piccolo, flute, alto flute, and bass flute). Full of lines that move between parts, playful flourishes, and a perpetuo line that shifts between moving sixteenths and tremolos as the piece moves between dramatic declarations and harmonious melody.\u003c\/p\u003e\u003cp\u003eScore only. Parts available by special request per the publisher.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Default Title","offer_id":46968215568678,"sku":"ACAZUCM049","price":13.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/A00000ACAZUCM049_d.jpg?v=1697506380"},{"product_id":"froom-d-petali-di-gelsomino","title":"Froom, D :: Petali Di Gelsomino","description":"\u003cspan class=\"NameInDesc\"\u003ePetali Di Gelsomino\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eFroom, D\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eDavid Froom presents Petali Di Gelsomino for flute and string orchestra, here in score form. Parts available on request.\u003c\/p\u003e\u003cp\u003eFrom the composer:\u003c\/p\u003e\u003cp\u003e Petali di Gelsomino ( Jasmine Flower Petals ) was commissioned for Fudan University s 100th anniversary, a date that coincided with the 25th anniversary of Fudan s affiliation with St. Mary s College of Maryland (where I have taught since 1989). The concert at Fudan (in Shanghai) featured the Italian flutist Giuseppe Nova with string group from the US, Italy, and China. To honor the three country involvement, I chose to center my work on the Chinese folk song  Jasmine Flower.  In its simplest, pared down form, this song is the prominent unifying theme in Puccini s opera Turandot. That version of the folk song sits alongside a fuller, more elaborate melody widely known in China, though both versions are heard there.\u003c\/p\u003e\u003cp\u003eTo begin my composition, I broke the melody into motivic fragments (as if picking petals from this Jasmine flower), using these to create a variety of textures for strings and flute. To end the work (after the flute cadenza), I  reassembled  the petals into the full flower: the Puccini version is heard in string harmonics, followed by the full version of the melody in the flute, played over a shimmering string accompaniment. \u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Default Title","offer_id":46968219828518,"sku":"ACAFROD034S","price":23.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/B0000ACAFROD034S_d.jpg?v=1697506596"},{"product_id":"francaix-j-quintette-quintet-score","title":"Francaix, J :: Quintette [Quintet] (score)","description":"\u003cspan class=\"NameInDesc\"\u003eQuintette [Quintet] (score)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eFrancaix, J\u003c\/span\u003e\u003cbr\u003e\u003cp\u003ePlease note that this is the score only. Jean Francaix's 'Quintette [Quintet]' for flute, violin, viola, cello, and harp was composed in 1934 and is four movements: Andante tranquillo, Scherzo, Andante, and Rondo. A twentieth century French composer, Francaix was natrually gifted in music and began writing when he was only six years old. He published his first work at the age of ten which caught the attention of renowned composer and teacher, Nadia Boulanger whom considered Francaix to be one of her best pupils. Francaix was a skilled orchestrator which was reflected in his use of interesting timbres and tone colors which is evident in this beautiful quintet.\u003c\/p\u003e","brand":"Schott","offers":[{"title":"Default Title","offer_id":46968382685478,"sku":"9790001063623","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790001063623_d.jpg?v=1697510391"},{"product_id":"francaix-j-quintette-quintet-no-2-score","title":"Francaix, J :: Quintette [Quintet] No. 2 (score)","description":"\u003cspan class=\"NameInDesc\"\u003eQuintette [Quintet] No. 2 (score)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eFrancaix, J\u003c\/span\u003e\u003cbr\u003e\u003cp\u003ePlease note that this is the score only. Jean Francaix's 'Quintette [Quintet] No. 2' for flute, violin, viola, cello, and harp was composed in 1989 and is four movements: Allegrissimo, Scherzo (Vivo), Notturno (Adagio molto), and Rondo (Allegro molto). It is categorized as difficult for the advanced players. A twentieth century French composer, Francaix was natrually gifted in music and began writing when he was only six years old. He published his first work at the age of ten which caught the attention of renowned composer and teacher, Nadia Boulanger whom considered Francaix to be one of her best pupils. Francaix was a skilled orchestrator which was reflected in his use of interesting timbres and tone colors which is evident in this beautiful quintet.\u003c\/p\u003e","brand":"Schott","offers":[{"title":"Default Title","offer_id":46968382980390,"sku":"9790001080910","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790001080910_d.jpg?v=1697510407"},{"product_id":"takemitsu-t-rain-spell","title":"Takemitsu, T :: Rain Spell","description":"\u003cspan class=\"NameInDesc\"\u003eRain Spell\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eTakemitsu, T\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e'Scored for flute, clarinet, harp, piano and vibraphone, and running about 10 minutes in duration, 'Rain Spell' is one of the composer's pieces expressing his fascination with rain and the random flow of water (Rain Coming, Water-Ways, Riverrun, Waterscape, Rain Tree, Garden Rain, etc.), a theme also shared by one of Takemitsu's main influences Claude Debussy. Written for the Sound Space Ark in Tokyo, 'Rain Spell' opens with isolated arpeggios and gentle flutterings like splashes of water. Strange multiphonics sound like electronic insects. The melodies become longer and more full of eerie effects accompanied by muted harmonics on harp and piano. These describe the deep 'spell' woven by the rain more than the sound of falling rain itself, and that is the genius of Takemitsu's spiritual insight expressed in his art.'\u003c\/p\u003e\u003cp\u003e- 'Blue' Gene Tyranny\u003c\/p\u003e","brand":"Schott Japan","offers":[{"title":"Default Title","offer_id":46968452448550,"sku":"9790650010481","price":22.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790650010481_d.jpg?v=1697512500"},{"product_id":"perle-g-wind-quintet-no-5","title":"Perle, G :: Wind Quintet No. 4","description":"\u003cspan class=\"NameInDesc\"\u003eWind Quintet No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003ePerle, G\u003c\/span\u003e\u003cbr\u003e\u003cp\u003eThis edition of George Perle's 'Wind Quintet No. 4' is the score only with the individual parts sold separately.\u003c\/p\u003e\u003cp\u003e One danger with  isms,  Theodore Adorno wrote in his  Aesthetic Theory , is that, initially, artists who follow the  ism  less religiously tend to be underrated in favor of those whose allegiance is more dramatic. Few composers better exemplify that phenomenon than George Perle, who for much of his career has stood in the shadow of the serialist composers with whom he is dubiously associated. Only gradually has the music world come to realize how individual his music is, what a flexible musical language he has developed, and how different that language is from serialism. Thus the 1986 Pulitzer Prize Perle received for one of the works on this record, the  Wind Quintet No. 4 , seemed not so much an award for an isolated achievement as an overdue tribute to someone who has upheld the highest musical standards for over a quarter-century. For the record, the Fourth Quintet (1984) is the only one written strictly in Perle's system, though the system informs all of his writing, and the ear is hard put to tell the difference. The piece abandons the strictures of metric modulation for a freer conception of tempo with frequent ritards and accelerandos. Like so many late works of important composers, this quintet possesses a greater smoothness and cohesiveness of language than the earlier ones, for which some of the style's more picturesque idiosyncrasies have been sacrificed (one thinks of the late Beethoven sonatas, or Wagner's counterpoint in Parsifal). The work's most fascinating feature is possibly the a-rhythmically contrapuntal texture of the Scherzo (forever interrupted by the rabble-rousing horn), unique in the genre's literature. Symmetry on every level is an increasingly important aspect of Perle's late music, and the finale quotes heavily from the opening movement.\u003c\/p\u003e\u003cp\u003e- Kyle Gann\u003c\/p\u003e","brand":"Schott","offers":[{"title":"Default Title","offer_id":46968456479014,"sku":"9790600011995","price":27.85,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/D009790600011995_d.jpg?v=1697512598"},{"product_id":"janacek-l-3-moravian-dances","title":"Janacek, L :: 3 Moravian Dances","description":"\u003cp\u003e\u003cspan class=\"NameInDesc\"\u003e3 Moravian Dances\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"ComposerInDesc\"\u003eJanacek, L\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eInternational Music Company presents Leos Janacek's 3 Moravian Dances for flute, oboe, clarinet and bassoon transcribed by Milan Munclinger; includes score and parts.\u003c\/p\u003e\u003cp\u003e'Among Janacek's posthumous works were found piano sketches on themes taken from Moravian Folk Music. He used these folk themes also in his opera 'Jenufa' and in 'Lachian Dances'. Janacek had a distinct original way of writing for woodwind ensemble, and a study of his Chamber Music works enabled me to arrange these sketches in the composer's style. The first one, 'Ej Denaj,' was dated 1892, and the other two, 'Celadensky' and 'Pilky', bear the date of 1894.'\u003c\/p\u003e\u003cp\u003e- Milan Munclinger\u003c\/p\u003e","brand":"International Music Company (IMC)","offers":[{"title":"Default Title","offer_id":46968534499622,"sku":"I2788","price":14.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/products\/50000000000I2788_d.jpg?v=1697514576"},{"product_id":"concerto-in-la-minore-f-vi-no-9-concerto-a-minor-f-vi-no-9-ricordi","title":"Vivaldi, A :: Concerto in La Minore F. VI, No. 9 [Concerto A Minor F. VI, No. 9]","description":"\u003cspan class=\"NameInDesc\"\u003eConcerto in La Minore F. VI, No. 9 [Concerto A Minor F. VI, No. 9]\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"ComposerInDesc\"\u003eVivaldi, A\u003c\/span\u003e\u003cbr\u003eStudy score only - no parts included. RV 445","brand":"Ricordi","offers":[{"title":"Default Title","offer_id":52925296607598,"sku":"073999946314","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0827\/3559\/5814\/files\/C000073999946314_d.jpg?v=1761858873"}],"url":"https:\/\/www.flute4u.com\/collections\/scores.oembed","provider":"Carolyn Nussbaum Music Company","version":"1.0","type":"link"}