SKU: BR.OB-5148-26

ISBN 9790004329702. 9 x 12 inches.

In 1785, Mozart repeatedly visited the Viennese Freemasons Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik (Master Music) for mens chorus and orchestra. The score does not contain the choral parts, perhaps because they were doubled by the oboe I and clarinet parts, a pecularity undoubtedly suited to the singing capacity of the Lodge members. From a detailed analyses of the work and of the Freemasons practices, on can infer that the text was drawn from the third Lamentation of Jeremiah. Mozart at least entered the correct date of composition of the Master Music in his own work catalogue, namely Jully (1785).For a performance without chorus which most probably took place on 9 December 1785, Mozart added three new, low wind parts which emphasize the gloomy mood of the work. It is with these added parts that the work has come down to us as the Maurerische Trauermusik (Masonic Funeral Music).

In 1785, Mozart repeatedly visited the Viennese Freemasons' Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik.

SKU: BR.OB-5148-15

ISBN 9790004329672. 9 x 12 inches.

In 1785, Mozart repeatedly visited the Viennese Freemasons Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik (Master Music) for mens chorus and orchestra. The score does not contain the choral parts, perhaps because they were doubled by the oboe I and clarinet parts, a pecularity undoubtedly suited to the singing capacity of the Lodge members. From a detailed analyses of the work and of the Freemasons practices, on can infer that the text was drawn from the third Lamentation of Jeremiah. Mozart at least entered the correct date of composition of the Master Music in his own work catalogue, namely Jully (1785).For a performance without chorus which most probably took place on 9 December 1785, Mozart added three new, low wind parts which emphasize the gloomy mood of the work. It is with these added parts that the work has come down to us as the Maurerische Trauermusik (Masonic Funeral Music).

In 1785, Mozart repeatedly visited the Viennese Freemasons' Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik.

SKU: BR.PB-5148

ISBN 9790004208908. 9 x 12 inches.

In 1785, Mozart repeatedly visited the Viennese Freemasons Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik (Master Music) for mens chorus and orchestra. The score does not contain the choral parts, perhaps because they were doubled by the oboe I and clarinet parts, a pecularity undoubtedly suited to the singing capacity of the Lodge members. From a detailed analyses of the work and of the Freemasons practices, on can infer that the text was drawn from the third Lamentation of Jeremiah. Mozart at least entered the correct date of composition of the Master Music in his own work catalogue, namely Jully (1785).For a performance without chorus which most probably took place on 9 December 1785, Mozart added three new, low wind parts which emphasize the gloomy mood of the work. It is with these added parts that the work has come down to us as the Maurerische Trauermusik (Masonic Funeral Music).

In 1785, Mozart repeatedly visited the Viennese Freemasons' Lodge Zur wahren Eintracht, where on 12 August Carl von Konig was elevated to the rank of a Master. It was fort his ceremony that Mozart composed the Meistermusik.

SKU: CA.9700312

ISBN 9790007238766. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700349

ISBN 9790007238797. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700314

ISBN 9790007238780. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700311

ISBN 9790007238759. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: HL.50487107

ISBN 9790080122815. Bach (23 x 30,2 cm) inches. Erzsebet Nagy; Miklos Mosoczi.

This publication is a completely revised edition of our five-volume guitar tutor. In the decades since the first edition, the musical interests of our students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor. We have increased the number of recital pieces at all levels of difficulty, so that our students can spend longer on a varied repertoire at their respective level. We have first of all selected works from the Viennese classics for this purpose but have also enriched the repertoire of the tutor with numerous pieces from the Renaissance and Baroque periods.

SKU: BT.EMBZ1852

Hungarian.

It s quite rare when a composer s diploma work becomes a successful, popular piece even after 70 years. Frigyes Hidas (1928 2007) Oboe Concerto, written in 1951, is a work that Péter Pongrácz, Lajos Lencsés, and many other Hungarian and foreign oboists gladly add to their concert programs. It is difficult to pinpoint exactly what stylistic conventions helped to form the musical language of the Oboe Concerto: the three-movement form is suggestive of Viennese Classicism, and Hungarian motifs of the era can also be detected here and there. However, the main influences can be felt from the Neoclassicism of the 1920s and 1930s, the Baroque era, and the French woodwind school. Aswith all of his musical creations, Hidas demonstrates here that he is a master of instrumental knowledge, consideration towards his works performers, and tasteful moderation. This publication is printed on high-quality, age-resistant, pale-yellow paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

SKU: BT.EMBZ14802

Johann Nepomuk Hummel is a key figure of the transition period between Viennese classicism and Romanticism: a pupil of Mozart, a contemporary of Beethoven, and a model for the composers of the next generation, especially Chopin. He was not only a composer but also one of the greatest virtuoso pianists of that time, who gave enormously successful concerts all over Europe, and wrote one of the most important piano tutors of the first half of the 19th century (Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel). The majority of the pieces that feature in this collection are from that piano tutor.

Johann Nepomuk Hummel ist eine Schlüsselfigur der Übergangsepoche zwischen der Wiener Klassik und der Romantik: Er war Schüler von Mozart, Zeitgenosse von Beethoven und das Vorbild der nachfolgenden Generation,vor allem von Chopin. Er war nicht nur Komponist, sondern einer der größten Klaviervirtuosen seiner Zeit, dessen Kunst europaweit gefeiert wurde. Er schrieb eine der wichtigsten Klavierschulen in der ersten Hälfte des 19. Jahrhunderts: Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel. Der Großteil der Stücke in dieser Sammlung stammt aus dieser Klavierschule.

Johann Nepomuk Hummel est une figure clé de la période de transition entre classicisme viennois et romantisme : il fut l'élève de Mozart, le contemporain de Beethoven, et un modèle pour les compositeurs de la génération suivante, notamment Chopin. Il était non seulement compositeur, mais aussi l'un des plus grands pianistes virtuoses de l'époque, ayant donné des concerts succès dans toute l'Europe. Éminent professeur de piano, sa méthode Anweisung zum Pianofortespiel remporta un vif succès tout au long de la première moitié du 19e siècle.

SKU: BT.EMBZ14563

Hungarian-English-German-French.

The volumes in the Leggierissimo series, each containing works by a different composer, are now followed by albums presenting easily playable music from the various historical periods: renaissance, baroque, Viennese classicism and romanticism. The selection of renaissance music includes not only instrumental dances but also transcriptions of what were originally vocal pieces (well-known chansons). The volume also contains dance movements that can be paired together, and for individual performances cycles of several movements can be assembled from pieces taken from the same collection.

SKU: BT.EMBZ14695

Besides Bach, Domenico Scarlatti is the other Baroque composer whose keyboard works sound really great on the modern piano. The editor of this volume has chosen sixteen pieces from the 555 surviving single-movement keyboard sonatas by Scarlatti. This compilation is designed to offer a representative selection in order to give a taste of the incredibly rich world of Scarlatti's sonatas in terms of their character, structure, and keyboard techniques: they include lyrical Andantes and powerful, etude-like, whirling Allegros, pieces inspired by Spanish folk music and guitar-playing, as well as sonatas that anticipate the Viennese classical style. None of these movements exceed amoderate difficulty level.

Neben Bach ist Domenico Scarlatti der andere Barock-Komponist, dessen Werke für Tasteninstrumente auch auf dem heutigen Klavier gut klingen. Aus seinen 555, meistens einsätzigen Sonaten wählte der Herausgeber für den vorliegenden Band sechzehn Stücke aus. Diese wurden mit dem Anspruch einer repräsentativen Auswahl zusammengestellt. Der Band gibt einen Vorgeschmack von der unglaublich reichen Welt der Charaktere, Texturen und Tasteninstrumententechniken der Scarlatti-Sonaten: Neben melodischen, wunderschönen Andanten und etüdenähnlichen, wirkungsvollen Allegri bekommen in ihr auch Stücke ihren Platz, welche von der spanischen Volksmusik und von der Gitarrenspieltechnik inspiriertsind, oder Sonaten, die die Wiener Klassik erahnen lassen. Diesen ist außer dem Komponisten nur eines gemeinsam: Hinsichtlich ihrer technischen Anforderungen überschreitet keine die mittlere Stufe.