From practice for practice: ‘dumb it down’ is a series of simplified piano accompaniments by Philip Lehmann to standard works for various instruments, which also offer piano players without a degree the opportunity to accompany their pupils, children, friends, etc. This ‘Chanson triste’ is the second movement of the cycle ‘12 Piano Pieces op. 40’, which Tchaikovsky composed for piano two hands. The edition contains QR codes to playalongs in various tempi with the original piano setting. Level of difficulty 2* : m ust be looked at before the lesson, practised before the concert * For the most part, it is sufficient to play the left hand (during lessons). The edition is also available as a pdf file. Click on the drop-down menu under ‘ISSUE (please select)’.

First concert pieces for piano. A playbook for the old and new piano primer. ‘’Keyboard jumps‘’ is a varied collection of piano pieces that are very suitable for a concert in the first year of lessons. The order of the pieces and the increasing level of difficulty is based on the first volume of the piano school ‘’The new piano primer‘’, making it a good addition to this, but also to other teaching materials. The colourful palette of works includes music by Johann Sebastian Bach and Ludwig van Beethoven, compositions by Béla Bartók and Dmitri Kabalewski and modern pop ballads by Ulrich Deppe. All piano players are invited to discover the colourful world of music with curiosity and playfulness and to present one or two pieces to an audience.

Eine Musik für Blockflötenquartett in verschiedenen Besetzungen, die mit viel Witz, Charme und Virtuosität Jahrmarkts- und Varieté-Stimmungen aus längst vergangenen Tagen einfängt: Die insgesamt 19 Stücke der „Flötenorgel“ in 5 Bänden bewegen sich zwischen Klassik, Jazz und neuzeitlicher Unterhaltungsmusik. Alle Stücke können einzeln gespielt werden, eignen sich aber auch als 75-minütiges Konzertprogramm mit dramaturgisch spannendem Aufbau. Den Auftakt der Reihe bildet "Hereinspaziert" mit 4 Stücken für ATTB-Quartett. Inhalt: Bonjour (A(Sino)TTB) Manege frei (ATTB) Der Magier (ATTB) Der Drehorgelmann (ATTB) Gesamtausgabe: Bände 1-5 N 2961 Band 2: Zauber der Manege N 2953

Eine Musik für Blockflötenquartett in verschiedenen Besetzungen, die mit viel Witz, Charme und Virtuosität Jahrmarkts- und Varieté-Stimmungen aus längst vergangenen Tagen einfängt: Die insgesamt 19 Stücke der „Flötenorgel“ in 5 Bänden bewegen sich zwischen Klassik, Jazz und neuzeitlicher Unterhaltungsmusik. Alle Stücke können einzeln gespielt werden, eignen sich aber auch als 75-minütiges Konzertprogramm mit dramaturgisch spannendem Aufbau. Den Auftakt der Reihe bildet "Hereinspaziert" mit 4 Stücken für ATTB-Quartett. In "Zauber der Manege" erklingen 4 abwechslungsreiche Stücke für SATB-Quartett. "Das große Vergnügen" sind 4 humor- und effektvolle Stücke für SATB-Quartett. Im "Imaginarium" wird die Fantasie angeregt mit 3 Stücken für verschiedene Besetzungen (von Sopranino-Blockflöte bis Subbass) "Träumereien" bildet den letzten Band der Reihe und führt die ZuhörerInnen in nächtliche Zirkusstimmungen mit 4 Stücken für verschiedene Besetzunegn (von Sopranino-Blockflöte bis Subbass). Die Hefte sind auch einzeln erhältlich: Band 1: Hereinspaziert N 2516 Band 2: Zauber der Manege N 2953 Band 3: Das grosse Vergnügen N 2954 Band 4: Imaginarium N 2955 Band 5: Träumereien N 2956

Eine Musik für Blockflötenquartett in verschiedenen Besetzungen, die mit viel Witz, Charme und Virtuosität Jahrmarkts- und Varieté-Stimmungen aus längst vergangenen Tagen einfängt: Die insgesamt 19 Stücke der „Flötenorgel“ in 5 Bänden bewegen sich zwischen Klassik, Jazz und neuzeitlicher Unterhaltungsmusik. Alle Stücke können einzeln gespielt werden, eignen sich aber auch als 75-minütiges Konzertprogramm mit dramaturgisch spannendem Aufbau. In "Zauber der Manege" erklingen 4 abwechslungsreiche Stücke für SATB-Quartett. Inahlt: Die Flötenorgel (SATB) Das Steckenpferdchen (S(Sino)ATB) Die Seiltänzerin (SATB) Zugabe (SATB) Gesamtausgabe zum Vorzugspreis: N 2961 Die Hefte sind auch einzeln erhältlich: Band 1: Hereinspaziert N 2516 Band 2: Zauber der Manege N 2953 Band 3: Das grosse Vergnügen N 2954 Band 4: Imaginarium N 2955 Band 5: Träumereien N 2956

The eight short and impressive pieces for solo guitar capture moments in and around the fascinating world of the circus. They are not only suitable for concerts, but equally well suited for advanced guitar lessons, as many terms and techniques, such as harmonics, vibrato and campanella can be learned here in a practical way. The pieces thus serve as concert etudes, which provide a lot of playing pleasure due to their programmatic context.

The festive season is a wonderful opportunity to enjoy the timeless beauty of classical music. This collection features selected works by master composers such as J. S. Bach, A. Corelli, W. A. Mozart, Fr. X.A. Murschhauser, R. Schumann and P. I. Tchaikovsky. These pieces capture the spirit of Christmas and invite you to spread the festive cheer by playing them on the piano.

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time.

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers of a Hamburg patrician family (Rudolf, Hieronymus and Johannes Wilhelm Burmester) dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to ' connoisseurs and lovers' with the wish '. ..faire une bonne partie de Vos amusements' . The sonatas will fulfill this purpose today just as they did at that time. Content: IV. Largo Allegro Andante Vivace V. Largo Allegro Grave Vivace VI. Andante Presto Cantabile Vivace

First edition This edition is based on a manuscript from the Staatsbibliothek Berlin, Preußischer Kulturbesitz, Musikabteilung. It comes from the estate of Telemann, who gave it to his grandson Georg Michael Telemann (1748-1831). G. Poelchau acquired the manuscript in 1834 with a pack of music stored in a church tower in Riga. From Poelchau's estate († 1836) the sonata work came to the Royal Library in Berlin. The sonatas are dedicated to the brothers Rudolf, Hieronymus and Johannes Wilhelm Burmester of a Hamburg patrician family dated 1 March 1734, with the note that they follow the ‘12 methodical sonatas’, which were also dedicated to the first two brothers. The close connection between the two large sonata works can be found in their valuable musical content, in the sequence of movements (slow, fast, slow, fast), and in the succession of keys (C-a-D-h-E-F-d-G-e-A-f sharp-g). The bass lines are often involved in the theme. Occasionally we are reminded of J.S. Bach's inventions. In the title, the violin is named as the solo instrument before the flute, as several sonatas are unmistakably written “violinistically” without this hindering their playability for flute. The present edition adheres strictly to the manuscript. Suggestions for dynamics are indicated as such by brackets, as are those for articulation (by dotted lines), which may differ for violinists from those intended for flute. Experienced players should use the original figured bass for their own interpretation. The 12 sonatas made available to the public here for the first time are among the best compositions of this kind by Telemann, who dedicated them to 'connoisseurs and lovers' with the wish '...faire une bonne partie de Vos amusements'. The sonatas will fulfill this purpose today just as they did at that time.