Albert Roussel: Aria

Aria

Jacques Ibert: Aria (Viola And Piano)

Aria

Richardson: Aria and Allegretto for Oboe and Piano

Richardson, Aria and Allegretto for Oboe and Piano. Duration: c. 6 minutes.

Alexandre Aroutiounian: Aria Et Scherzo

Alexandre Aroutiounian's Aria et Scherzo for B Flat Trumpet and Piano accompaniment. Part of the the Alphonse Leduc catalogue, this work has been produced to the highest editorial and printing standards.

Alfred Désenclos: Aria et Rondo (Double Bass & Piano)

Modern French composer, Alfred Desenclos (1912-1971) created exceptional works for a variety of instruments. Aria Et Rondo  for Double Bass and Piano, published in 1952, is no exception. Desenclos won the 1942 Prix de Rome following studies at the Conservatory in Roubaix. The composer's compositional style is highly expressive and atmospheric, with uses of extended technique. Aria Et Rondo  reflects these aspects, with a typical performance lasting about 12 minutes. For all advanced Double Bass players, Desenclos 's Aria Et Rondo  is an exciting, alternative piece for the repertoire.

Carl Vine: Aria (Soprano Voice And Piano)

This version of Aria for Soprano and Piano is an arrangement of the original version scored for Soprano, Flute, Cello, Celesta and Percussion.

John Corigliano: Aria For Oboe And Strings (Score And Parts)

Aria for Oboe and Strings may be performed in either two versions: with string orchestra or with string quintet. The materials provided here include footnotes indicating how the piece should be performed dependning on which version is selected.The first performance of Aria was given by the Connecticut String Orchestra on January 6th, 1977 with Bert Lucarelli, oboe and Renato Bonacini, conductor. Aria was adapted from the composer's Concerto for Oboe and Orchestra which is available on rental from the publisher. Duration: ca. 6 minutes.

Eugène Bozza: Aria (Violin or Flute And Piano)

This superb chamber work was completed in 1936, and Aria , by Eugene Bozza, is set delightfully here for Violin or Flute with Piano accompaniment.

Aria and Chorale

Written as one continuous movement, the music begins with a haunting "Aria." A chromatic musical language creates a mysterious mood. The pianist and violinist trade musical motives back and forth as equal but differing partners. A brief interlude segues into the "Chorale" section, which is as soaring and reassuring as the beginning was uneasy. The two ideas create a fulfilling balance and the work ends peacefully.

Eugène Bozza: Aria Pour Cor En Fa Et Piano

Aria for Clarinet and Piano by Eugène Bozza. Part of the the Alphonse Leduc catalogue, this work has been produced to the highest editorial and printing standards.

Joaquin Rodrigo: Aria Antigua For Flute And String Orchestra

Aria Antigua, for flute and string orchestra was first performed by Bernard Wystraete and The Instrumental Soloists Ensemble B W on 23 March 1999 in Versailles. Includes score and parts.

Franz Liszt: Ad Nos, Ad Salutarem Undam

Liszt's Ad Nos, Ad Salutarem Undam, or Fantasy and Fugue, is a solo work for Organ, and is part of the Great Performer's Edition, as edited by Anthony Newman.

César Franck: Prélude, Aria et Final

César Franck’s last piano work was published in 1888, two years before his death. The fact that this cycle did not enjoy the success of the Prélude, Choral et Fugue is hard to believe, given the expressive content of the first two movements (Prélude and Aria). Franck’s creative process is striking for being grounded in religion and in church music, the profoundly devout composer was for several decades organist of Sainte-Clotilde in Paris.

Eugène Bozza: Aria (Book/Download Card)

Composer and conductor Eugène Bozza (1905-1991) was a pupil of Henri Büsser and Henri Rabaud at the Conservatoire de Paris, and received the first Prix de Rome in 1934. It was during his stay the Villa Medici that he wrote his Aria Pour Saxophone Alto Et Piano – an adaptation of the third movement of Johan Sebastian Bach’s Organ Pastorale in F Major BWV 590, which was to tour the world. This nostalgia-imbued melody, which expands over a regular meter, has, in turn, been the subject of numerous transcriptions, first for clarinet, then for Violin (or Flute) and Piano. Éditions Leduc have chosen to republish this last version, with the added bonus of an audio version that should be of valuable assistance to all musicians!

DET ER SÅ YNDIGT AT FØLGES AD

DET ER SÅ YNDIGT AT FØLGES AD

Rued Langgaard: Fri Klaversonate (var. ad lib.)

Fri Klaversonate (var. ad lib.), BVN309, by Rued Langgaard.

Rued Langgaard: Hél-Sfærernes Musik (var. ad lib.)

Hél-Sfærernes Musik (var. ad lib.). BVN371

Eugène Bozza: Aria (Book/Download Card)

Born to an Italian father and a French mother, Eugène Bozza (1905-1991) divided his music studies between the Academia Santa Cecilia in Rome and the Conservatoire de Paris, where he was taught by Henri Büsser and Henri Rabaud. His chamber music compositions reveal a marked predilection for wind instruments, as reflected in Fantaisie pastorale for oboe and piano (1939) and New-Orléans for bass saxhorn and piano (1944). During his stay a few years earlier at the Villa Medici in Rome (1936), Bozza had written his Aria Pour Saxophone Alto Et Piano – a free adaptation of the third movement of Johann Sebastian Bach’s Organ Pastorale in F major BWV 590. This expansive and nostalgic melody, which unfolds over a regular meter, has become one of the most widely played Saxo­phone pieces in the world. Having enjoyed such success, Éditions Leduc has decided to supplement its republication with an audio version that will enable saxo­phonists to carry out “full-scale” practice.

Ad Fontis

The Latin title Ad Fontis means ?to the source?. This lively march in 2/4time follows traditional forms of march composition with a cheerfulopening followed by a somewhat more lyrical trio. This ceremonialgenre of old is often used in the army to keep up the morale of thetroops, however a march can also serve perfectly well to add luster toany concert and bring immense pleasure to the audience.

Aria

Aria

Aria

Jacques Ibert: Aria In D Flat - Alto Saxophone And Piano

Aria , written in 1930 by Jacques Ibert (1890-1962), is a small study initially for Voice and Piano but arranged in this edition for Alto Saxophone and Piano. This version and the one for Flute and Piano are the ones most commonly used. The Alto Saxophone score is one-page long and contains technical difficulties that would make it ideal for an upper intermediate player. Its author, Jacques Ibert (1890-1962) was a neoclassical composer who won the Prix de Rome in 1919. He composed many symphonic suites, operas and seven orchestras, including 'Angelique' (1926) and 'Entertainment' (1930). He also was in charge of the Accadémie de France in the Villa Médicis (Roma) and was later administrator for the Paris Opera.

Muzio Clementi: Gradus Ad Parnassum (Selected Studies)

Gradus ad Parnassum by Muzio Clementi - The art of playing the piano, demonstrated in 29 selected studies to which are added scales in thirds for all major and minor keys.

Muzio Clementi: Gradus ad Parnassum (Book 1)

Gradus ad Parnassum by Muzio Clementi - The art of playing the piano, demonstrated by one hundred exercises of a classical and elegant style, arranged in progressive order. Fingered, revised and annotated by Max Vogrich.