The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

Irische Musik steht für Spielfreude und hat einen eigenen, ganz unverwechselbaren Klangcharakter. In seinen Arrangements von vier mitreißenden Traditionals ist es Czeslaw Kroczek gelungen, das typisch irische Klangkolorit einzufangen. Dennoch gehen die Stimmen nicht über einen mitteleren Schwierigkeitsgrad hinaus. Inhalt: 1. Single Jig 2. Hornpipe 3. Slip Jig (Barndoor Jig / Rowdledum) 4. Lord Inchiquin

The 5th volume of the series gives young musicians the opportunity to play together on festive occasions - birthdays, baptisms, weddings, anniversaries, etc. - to make music together in the familiar instrumentation and thus serenade with chamber music The 5th volume in the series gives young musicians the opportunity to play together in the familiar instrumentation on festive occasions - birthdays, christenings, weddings, anniversaries etc. - to make music together in the familiar instrumentation and thus perform chamber music serenades. The ‘Air’ from the Grobschmied Variations has been transposed to G major in order to minimise technical difficulties in the melody parts. The first and second voices are on an equal footing and alternate melodically together with the piano. The bass part has gained in expressiveness and, together with the percussion, complements the sound in a marvellous way. Both parts can be omitted without detracting from the musical sense. Content: 1. Birthday 2. Good luck and many blessings (Werner Gneist) 3. Let him live high 4. Gavotte, French Suite No. 5, BWV 816 (Johann Sebastian Bach) 5. Air, ‘Grobschmied - Variations’, Suite No. 5, HWV 430 (George Frideric Handel) 6. Gavotte, Aylesford Collection (George Frideric Handel) 7. Aria, Suite No. 3, 1st Collection, HWV428 (George Frideric Handel) 8. Great God, we praise you 9. Faithfully guided, Lohengrin (Richard Wagner)

Die Musik Nordamerikas ist außerordentlich vielfältig. Einen kleinen Einblick vermitteln die von Czeslaw Kroczek ausgewählten Stilrichtungen. Die mittelschweren Arrangements wecken zudem die Freude am gemeinsamen Musizieren. Inhalt: - Negro Spiritual Medley - Joe Turner Blues - Bluegrass - Stone's Rag

Die zahllosen Facetten des Feuers sind auch in der Kammerensemble-Fassung des "Feuertanzes" für großes Orchester (N 2492) von Mitsch Kohn deutlich hörbar. Die reduzierte Besetzung benötigt 10 sichere Spieler. "Tanz des Feuers" ist Kampf und Liebe, es ist der Versuch, ebendiese scheinbar ambivalenten und doch untrennbar miteinander verbundenen Momente zu beschreiben, ein musikalisches Bilderbuch über ein mögliches Szenario der Liebe und des Feuers, ... vom Funken, der ein gemütliches Wärme spendendes Feuerchen entfacht und zum flammenden Inferno heranwächst ... Die Stimmen sind einzeln erhältlich (je 3,00 €).

126 Baryton-Trios schrieb Joseph Haydn für das Instrument des Fürsten Eszterházy. In Anlehnung an die damals gängige Praxis, diese Trios für Baryton, Viola und Violoncello auch für andere Besetzung zu bearbeiten, richtete Helmut Brook für die vorliegende Ausgabe zwei besonderes wertvolle Trios für drei Blockflöten ein. Doch die ausgewählten Trios Nr. 1 (ATB) und Nr. 35 (TTB) können ebenso in der Besetzung Querflöte, Violine und Violoncello zu Gehör gebracht werden.

Die sechs Barken sind in der Praxis des Klassenmusizierens entstanden und stehen nun für das gemeinsame Musizieren in der Schule, in der Klasse, in Gemeinschaften und nicht zuletzt in Familien- und Freundeskreisen zur Verfügung. Die Besetzung ist dabei offen gehalten, so dass Melodieinstrumente (Tonumfang c'-f'') in bunter Mischung mit Bassinstrumenten (Tonumfng E-c'), Tasteninstrumenten, Percussion und Gitarren zusammenspielen können. Die einzelnen Barken können in kurzer Zeit erarbeitet und für Aufführungen zu einer längeren Suite zusammengesetzt werden. Inhalt: Barke 1-6 Einzelstimmen:

Inspired by the world of superheroes, ‘Super Heroes’ illuminates various facets of heroic characters. The compositions, which inspire young people, offer numerous possibilities for interplay and can unite many players on stage, as the melody parts can be played by both strings and wind instruments. Scenic elements can also be added to creative performances and the multi-part pieces can be worked on in parts so that a good result can be achieved at the end of the rehearsal period, even if the instrumentation changes from week to week. Content: - Flying So High - Dangerous Date - Red Spider - Feeling Great - Made of Metal The following parts are available separately: - 1st voice in C - 1st part in Bb - 1st part in E flat (clarinet in E flat) - 2nd part in C - 2nd part in Bb - 2nd part in E flat (alto saxophone) - 3rd part in C (viola) - 3rd voice in Bb - 3rd voice in Bb (tenor saxophone) - 3rd part in E flat (alto saxophone) - 3rd part in F (horn in F) - 4th voice in C - 4th voice in E flat (baritone saxophone) - 4th part in C (double bass) - 4th part in Bb (bass clarinet) - Piano - Ride cymbals, anvil - congas - Triangle, crash cymbals

This extensive collection of old and new children's songs was created for practical use. It can be used wherever people with different skills want to make music together: Beginners sing or play the melody part, advanced players take the upper part. Bass instruments can reinforce or replace the bass of the piano.