SKU: ND.CBDS39-SET
SKU: CY.CC3163
ISBN 9790530111338. 8.5 x 11 in inches.
Motet Furchte dich nicht, BWV 228 was certainly written for a funeral (the text comes from Isaiah), however the date of composition is not certain but likely written during his Weimar period. Mr. Sauer has done a magnificent job transcribing all six of Bach's choral motets BWV 225-230 for 8-part Trombone Ensemble. This is a major undertaking. All are very worthy additions to the Trombone Ensemble repertoire. This work for 8-part Trombone ensemble is in two movements and about 7 1/2 minutes in length. This music is appropriate for advanced performers. The top two voices have parts supplied in both alto and tenor clef.
SKU: MA.EMR-47439
The Partridge / Merrily We Roll Along / Little Mozart / Le Bon Roi Dagobert / Jingle Bells / How To Slur / How To Play Staccato / J'ai du Bon Tabac / Serenade / Slurring Is Fun / Flea Jumps / Ode To Joy / Ah vous dirais-je Maman / Old Mac Donald ...
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: ND.CBDS39-CSC
SKU: CN.R10299
Holst's masterful military band orchestration of J.S. Bach's Organ Fugue in G Major BWV 577. Michael Brand's new edition expands/doubles some of Holst's original parts to make the piece playable by today's modern concert band.When Holst was commissioned to write 'Hammersmith' for the BBC Wireless Military Band in 1928 he felt rather out of practice in orchestrating for the medium. For some years he had had the idea of arranging some Bach fugues for brass and military band so he set himself the task of scoring the Organ Fugue in G Major BWV 577 (from Preludes, Fugues and Fantasias). He, rather than Bach, called it 'Fugue a la Gigue.' The piece made an ideal exercise and Holst's brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception which the composer carried forward into 'Hammersmith.' 'Fugue a la Gigue' was published for military band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time. This edition has the full score of Holst's original orchestration with optional added parts for full concert band.
SKU: CA.3910511
ISBN 9790007055226. Language: German/English.
The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann's sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 (therefore during the same period as the first performance of Bach's Christmas Oratorio). Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of the choir, and the tenor recitative can be sung by the soprano soloist. This work is now available in carus music, the choir app! Score and part available separately - see item CA.3910500.
SKU: PE.EP68524A
ISBN 9790300759043. Lat.
My Exsultet uses the ancient chant to which the Easter Proclamation is declaimed, normally by a deacon at the start of the Great Vigil of Easter. The chant dates from somewhere between the fourth and seventh centuries and consists of formulaic repetitions of simple phrases. I have elaborated these phrases canonically, melodically, and harmonically into a three-part vocal fabric, accompanied by obbligato instruments. The full text of the original goes on for quite some time. My choral-instrumental version is much shorter.
Commissioned by the Young People's Chorus of New York City for Transient Glory and dedicated to Francisco J. Núñez.
SKU: CY.CC3145
ISBN 9790530111130. 8.5 x 11 in inches.
Ralph Sauer's landmark new work, Practice With Bach for The Euphonium Volume II, will challenge your technique and musicality with demanding new etudes. Based on the keyboard works of J. S. Bach, each of the Three Volumes is available in five different versions--Alto Trombone, Tenor Trombone, Bass Trombone, Euphonium, and Tuba. Each version is customized for the individual instrument (choice of key, range, ornaments, etc.). Volume Two contains Twenty-four etudes, based upon the Six Partitas (BWV 825-830).
SKU: CY.CC3151
ISBN 9790530111192. 8.5 x 11 in inches.
Ralph Sauer's landmark new work, Practice With Bach for The Bass Trombone Volume II, will challenge your technique and musicality with demanding new etudes. Based on the keyboard works of J. S. Bach, each of the Three Volumes is available in five different versions--Alto Trombone, Tenor Trombone, Bass Trombone, Euphonium, and Tuba. Each version is customized for the individual instrument (choice of key, range, ornaments, etc.). Volume Two contains Twenty-four etudes, based upon the Six Partitas (BWV 825-830).
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