Olaf mühlenhardt (30 risultati)

Notenblatt. Condizione: Neu. Neuware - The form of these concertos is concise and concentrated, even in a moderate tempo none of them lasts longer than eight minutes. The fast movements are fresh and lively. The slow ones are expressive and make use of uncommon harmony. Because of the imitative disposition all parts are equally involved in the materials' treatment. The antiphonal opposition of instrumental groups in pairs is especially prominent.The dynamics in the Grave are the only ones found in the manuscript of the Sonata in C-major TWV 40:203. The writing in the second movement is very idiomatic for the violin and this particularly challenging for saxophones, especially in fast passages with large intervals. A few minor alterations may facilitate the technical difficulties. Sixteenth notes could be slurred in groups of four or two where wider intervals occur, as indicated by the dashed slurs. Difficult sixteenth note passages could be partly or completely substituted by eighth notes, according to one's own progress.In bars 31/32 and 41 the accompaniment in the lower parts is originally in unison. The cues complete the harmony, especially if the first Alto part is simplified. The quarter notes in Largo e staccato have a certain weight in the context of the short eighth notes and should not be played too short.Instrumentation:4 saxophonesTWV 40:203; Die Form der Konzerte ist kompakt und konzentriert, selbst in gemäßigtem Tempo dauert keines länger als acht Minuten. Die schnellen Sätze sind frisch und lebendig, die langsamen ausdrucksstark und harmonisch teilweise recht ungewöhnlich. Durch die imitatorische Anlage sind alle Stimmen nahezu gleichberechtigt an der Verarbeitung der Themen beteiligt. Besonders auffällig ist dabei auch die antiphone Gegenüberstellung von Stimmpaaren.Die dynamischen Zeichen im Grave sind die einzigen im Manuskript der Sonata in C-Dur; TWO 40:203. Der zweite Satz ist ausgesprochen 'geigerisch' geschrieben und technisch für Saxophone sehr anspruchsvoll, insbesondere in schnellen Passagen mit großen Intervallen. Durch ein paar Tricks lassen sich die technischen Schwierigkeiten etwas erleichtern.Zum einen kann man die Sechzehntel in Vierer-Gruppen binden, bei weiteren Intervallen in Zweier-Gruppen, wie zu Beginn durch die gestrichelten Bögen angedeutet. Schwierige Sechzehntel-Passagen kann man je nach Fortschritt teilweise oder komplett durch Achtel ersetzen.In den Takten 31-32 und 41 ist die Begleitung in den Unterstimmen eigentlich unisono. Die Stichnoten ergänzen die Harmonien, falls die erste Stimme vereinfacht wird.Die Viertelnoten im Largo e staccato haben im Umfeld der kurzen Achtel ein besonderes Gewicht und sollten nicht zu kurz gespielt werden.Schwierigkeitsgrad: 4-5.…

Notenblatt. Condizione: Neu. Neuware - Bach probably composed Fantasia and Fugue around 1725 at the beginning of his Leipzig years. Hardly any of his keyboard works is so closely associated with his organ works. The remarks 'manualiter' in two of the surviving manuscripts suggest that it was also played on the organ. The character of the Fantasia is serious and grave. Even the interludes, despite their lighter texture, maintain an overall contemplative character. Its concerto form is strictly symmetrical. The main theme appears four times: in a-minor, e-minor, d-minor and finally a-minor. Three interludes often employ only three parts and effectively contrast the full harmony of the main theme. The four-part double fugue is an example of Bach's unique contrapuntal craftsmanship. He combines two notably contrasting themes: the first is diatonic, rhythmic and agile while the second consists of a descending chromatic line. It appears around the center of the movement after a short cadence cesura. Surprisingly, it is immediately presented in stretto form. At the end both themes are combined three times.Instrumentation:4 saxophones (SATBar)BWV 904; 'Fantasia' ist ernst und düster. Selbst die Zwischenspiele haben trotz ihrer leichteren Textur einen nachdenklichen Charakter. 'Fugue' ist ein Beispiel für Bachs Kunstfertigkeit. Er verbindet zwei gegensätzliche Themen: Das erste ist diatonisch, rhythmisch und lebhaft, während das zweite aus einer absteigenden chromatischen Linie besteht.Schwierigkeitsgrad: 5.…

Notenblatt. Condizione: Neu. Neuware - In dieser Bearbeitung des Italienischen Konzerts übernehmen die Saxophone abwechselnd die Rolle des Solisten, der solistisch agierenden Instrumentalgruppe und des Ensemble-Tutti. Hinweise für die Interpretation wurden in Einklang mit der Neuen Bach-Ausgabe detailgetreu eingearbeitet.Schwierigkeitsgrad: 3.…

Geheftet. Condizione: New. Muehlenhardt, Olaf, arr.Featuring four distinct movements in contrasting styles-Grave, Allegro, Adagio, Spirituoso-this adaptation of an 18th century masterwork gives everyone equal responsibility for presenting technically challenging passages and produ.

Geheftet. Condizione: New. Muehlenhardt, Olaf, arr.Featuring four distinct movements in contrasting styles-Grave, Allegro, Largo e staccato, Allegro-this adaptation of an 18th century masterwork gives everyone equal responsibility for negotiating technically challenging passages a.

Geheftet. Condizione: New. Featuring three distinct movements in contrasting styles-Adagio, Grave, Allegro-this quartet adaptation of an 18th century masterwork gives everyone equal responsibility for presenting technically challenging passages and produces antiphonal effects when th.

Notenblatt. Condizione: Neu. Neuware - Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. 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 lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. The first movement has an unusual form. It begins with a slow introduction - a three-part fugue exposition, with a theme apparently resembling that of the second movement. The Vivace starts on the second eighth in bar 5 and is relatively short, compared to the other sonatas. Its melodic lines are particularly driving and energetic. The fugue theme is answered in the octave, which Bach typically does in slower movements. In the Andante, a two-bar phrasing is particulary noticeable. In the first section (bars 1 - 11) the theme is answered in unison, and after a two-bar interlude the theme appears in the dominant. In the second section (bars 11 - 23) the two solo parts develop motifs from the main theme in a beautiful dialogue. The first section is repeated in e-minor without bars 1 - 7. It is followed by the second section, here shifting to G-major. While the bass has almost exclusively served as an accompaniment so far, it is actively involved in the development of the fugue theme in the last movement, Un poc' allegro. It is dominated by a large variety of bubbly triplet figures. The form can either be perceived in three large sections (I. m 1 - 28, II. m 28 - 60, III. m 60 - 87, coda) or as a fugue-rondo with regular theme appearances. Due to the range and for better playability the sonata was transposed a halfstep above the original key. The slurs comply with the Neue Bach Ausgabe. In the manuscripts their beginnings and ends are usually difficult or impossible to determine. Suggestions are printed in dashed slurs. In the second movement the Soprano and Alto parts were exchanged in bar 38 - 40 to accomodate the Soprano's range. The dotted six-teenth notes in the third movement have to be adjusted to the triplet rhythm.Instrumentation:3 saxophones (SABar/SAT)BWV 528; Der erste Satz beginnt mit einer langsamen Einleitung - eine dreistimmige Fugenexposition, deren Thema offensichtlich Ähnlichkeit mit dem Thema des zweiten Satzes hat. Im letzten Satz ist der Bass aktiv an der Verarbeitung des Fugenthemas beteiligt. Der Satz wird vor allem durch die abwechslungsreichen und sprudelnden Triolenfiguren bestimmt.Die Sonate wurde wegen des Umfangs und der besseren Spielbarkeit einen Halbton höher transponiert.Schwierigkeitsgrad: 5.…

Kartoniert / Broschiert. Condizione: New. Muehlenhardt, Olaf, arr.The character of the Fantasia is serious and grave. Even the interludes, despite their lighter texture, maintain a contemplative character. The Fugue is an example of Bach s craftsmanship. He combines two contrasting themes: .

Notenblatt. Condizione: Neu. Neuware - Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. 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 lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more 'modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008Instrumentation:3 saxophones (SABar/SAT)BWV 529; Die fünfte Sonate ist wohl die einzige, die man als dreisätziges Concerto bezeichnen könnte. Ihr erster Satz Allegro ist mit seiner kammermusikalischen Sprache ein besonders gutes Beispiel für die Annahme, dass die Orgelsonaten möglicherweise instrumentale Vorgänger hatten. Das Largo in a-moll hat die Form einer dreiteiligen Da capo Arie mit Elementen einer Fuge. Das Fugenthema des Allegro scheint im Vergleich mit dem 'moderneren' Thema des ersten Satzes etwas konventionell. Seine Verarbeitung und die Gestaltung der zweiteiligen Form ist jedoch um nichts weniger raffiniert.Die Sonate wurde wegen des Umfangs einen Halbton höher transponiert. So wird die Ausführung auf einem Baritonsaxophon ohne tiefes A ermöglicht.Schwierigkeitsgrad: 5.…

Condizione: New. Muehlenhardt, olaf, arr.In dieser Bearbeitung des Italienischen Konzerts uebernehmen die Saxophone abwechselnd die Rolle des Solisten, der solistisch agierenden Instrumentalgruppe und des Ensemble-Tutti. Hinweise fuer die Interpretation wurden in Einkl.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Taschenbuch. Condizione: Neu. Fantasie und Fuge a-moll | BWV 904. 4 Saxophone (SATBar). Partitur und Stimmen. | Olaf Mühlenhardt | Taschenbuch | Noten Partitur und Stimmen (Mappe) | Partitur + Stimmen | Deutsch | 2009 | Schott Music, Mainz | EAN 9783892215844 | Verantwortliche Person für die EU: Schott Music GmbH & Co. KG, Weihergarten 5, 55116 Mainz, info[at]schott-music[dot]com | Anbieter: preigu. …

Condizione: New. The piece begins with a slow introduction-a three-part fugue exposition, with a theme apparently resembling that of the second movement. Due to the range and for better playability the sonata was transposed a half-step above the original key.Besetzung:3 Sax.

Heft. Condizione: Gut. Partitur und Stimmen. 35 S. ; 30 cm + 16 St. Die Notenblätter befinden sich in einem tadellosen Zustand. Sprache: Deutsch Gewicht in Gramm: 337.

Condizione: New. Due to the range the sonata was transposed a half-step above the original key. This also allows playing the bass line with a baritone saxophone without low A.Besetzung:3 Saxophone (SABar/SAT)BWV 529Die fuenfte Sonate ist wohl die einzige, die man als dre.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.

Condizione: new. Expédition le jour même. Libraire depuis 27 ans. Envoi soigné avec suivi.