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 pianists without a degree the opportunity to accompany their pupils, children, friends etc.. The level of difficulty of this edition is strongly dependent on the tempo. The notation clearly differentiates which quavers should be played and which are optional by indicating the repetition markings. This additional possibility of simplification as well as a low chosen tempo (realistic in a teaching context) justify the rating of the piano movement with ‘3’. The faster you play, the closer you get to a level of difficulty of ‘4’. The complete translation of Vivaldi's sonnet for the concerto is printed after the last page of the score. Level of difficulty 3 : Fingerings may need to be entered and practised till Level of difficulty 4 : Compared to the original, the piano writing has been greatly simplified, but can still be practised by amateurs

Die Ausgabe dieses Flötenkonzertes D-Dur erfolgt nach dem Erstdruck im Urtext.

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. Level of difficulty 3 : Fingerings may need to be entered and practised The edition is also available as a pdf file. Click on the drop-down menu under ‘Issue (please select)’

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. Level of difficulty 3 : Fingerings may need to be entered and practised The edition is also available as a pdf file. Click on the drop-down menu under ‘Issue (please select)’

Rieding works a great deal with pedalling. To simplify matters, these entries have been completely omitted. Level of difficulty 3 : Fingerings may have to be entered and practised The edition is also available as a pdf file. Click on the drop-down menu under ‘Issue (please select)’

Partitur: N 1239-P Stimme 1 (Canto): N 1239-Sti1 Stimme 2 (Quinto): N 1239-Sti2 Stimme 3 (Alto): N 1239-Sti3 Stimme 4 (Tenore): N 1239-Sti4 Stimme 5 (Basso): N 1239-Sti5

Die Stimmen sind komplett erhältlich (90,00 €) oder auch einzeln (je 5,00 €).

The level of difficulty of this simplified piano accompaniment is very high. The piano writing by the composer Clara Schumann is very complex, but the possibilities for reduction are limited. With this arrangement, Philip Lehmann makes it possible to play the accompaniment even without studying the piano. In the third movement, the present form of notation was chosen in order to offer the most manageable options possible, depending on the performer's ability: Accompaniment with the bass note only, chordally on the main beat or with tremolo in the specified rhythm. The rhythmic structure is notated from the first bar in order to preserve these rhythmic peculiarities (quintuplets, semiquaver rests) of the accompaniment in the right hand. The greatest possible simplifications should nevertheless be quickly recognisable. Level of difficulty 4 : Compared to the original, the piano part is greatly simplified, but can still be practised by amateurs The edition is also available as a pdf file. Click on the drop-down menu under ‘Issue (please select)’

Jiddisch - die Sprache der osteuropäischen Juden - steht auch für Texte, die dem soziokulturellen Erleben eines entwurzelten Volkes eine Plattform geben. Sie erzählen selten von romantischen Gefühlen als vielmehr von realen Gedanken, Sorgen, Hoffnungen und Erlebnissen. So sind den Liedern viele Aspekte bezüglich der Rollenverteilung und Lebenswirklichkeit derer zu entnehmen, die sie damals sangen. Diese von Hans Joachim Teschner für Querflöte und Gitarre bearbeiteten Stücke eignen sich gleichermaßen für das Vorspiel wie auch für das häusliche Musizieren.

In the copy by Johannes Sperger, which must serve as the source today, the double bass is in D major, but the parts are in E flat major. In the meantime, D major has established itself as the key for the double bass part. Accordingly, the key was chosen for the tuning of the double bass used. Dynamic and articulation indications are taken from the first edition by Franz Tischer-Zeitz (B. Schott's Söhne, Mainz 1938), but should only be understood as suggestions. The playalongs offered only contain the respective main parts of the solo: 1st movement T17 - T106 2nd movement T13 with upbeat - T53 3rd movement T29 with upbeat - ending Level of difficulty 3 : Fingerings may need to be entered and practised. The edition is also available as a pdf file. Click on the drop-down menu under ‘ISSUE (please select)’.

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. "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). Inhalt: - Romanze (ATBSb oder SinoSAB) - Mitternachts-Tango (BBGbSb/Lotusflöte oder AATB) - Nocturne (T(S)TBSb) - Adieu (ATTB oder BGbGbSb) 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

Another volume from the Elisabeth Pfeiffer presents series: What would it have been like if Franz Schubert had written for ukulele? Sebastian Krämer asked himself this question and composed five variations on his own ‘Theme Viennese Style’ for Elisabeth Pfeiffer. She writes about this work: ‘Sebastian Krämer has shown that the ukulele is capable of complex, polyphonic music. Not only does he utilise the characteristics of the ukulele; he also brings them to full expression. These variations are among the most beautiful and some of the most technically demanding pieces in my repertoire.’