SKU: HL.49034895
ISBN 9790001139557.
Wieder ein neuer Band der Erfolgsreihe! Was gerade im Radio lauft, kommt bei Schott schon aus der Notenpresse. Diesmal sind die neusten Hits von Nena (Willst Du mit mir gehn), Coldplay (Speed of sound), Joana Zimmer (I believe), Backstreet Boys (Incomplete), Wir sind Helden (Nur ein Wort) und Green Day (Wake me up when September ends) enthalten. Wie gewohnt bieten wir wahlweise eine Ausgabe mit MIDI-Diskette (MF 2038-01) und eine ohne MIDI-Diskette (MF 2038) an.
SKU: HL.50601045
ISBN 9788881920082. UPC: 888680723798. 7.75x10.5 inches.
Among the hundreds of violin concertos written by Vivaldi, which stand at the centre of his activity as a virtuoso, there are three that are in part incomplete: RV 370, RV 378 and RV 745. While only a portion of the first movement has survived in the case of RV 378, RV 320 lacks only a few bars at the end of its third movement, and only the last movement of RV 745 is extant. Incompleteness of this nature does, however, result in performable and perfectly enjoyable texts. The manuscripts of these three concertos are all autograph and datable to Vivaldi's last creative period (c. 1730-1741), years in which the Red Priest mixes his various musical experiences to create a language that is increasingly disparate and introspective. With the major-minor chiaroscuro of the first movement of the concerto RV 320, the spirited virtuosity of the RV 378 and the more mechanical virtuosity of RV 745, these three concertos offer a cross-section of the imagination and complexity that Vivaldi brings to the treatment of the violin in his late maturity.
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
SKU: CA.4066106
ISBN 9790007242718. Language: Latin.
Antonio Lotti's Kyrie in G minor and Gloria in G major are found together under the title Missa Sapientiae in a score which belonged to the Dresden church musician Jan Dismas Zelenka. Please note: Carus 40.661/06 only contains the score of the four purely solo movements. To perform the complete mass, the soloists also need the chorus score (Carus 40.661/05). Score available separately - see item CA.4066100.
SKU: CL.026-4679-00
Get your band into the holiday spirit with this unique and very playable work! Carols included are O Come All Ye Faithful, Deck The Halls, Silent Night, and Jingle Bells. You will find this unique arrangement musically and educationally satisfying, and this Build-A-Band edition is perfect for those ensembles with incomplete or awkward instrumentations. An excellent choice for your next holiday concert, Christmas Bells and Brass will appeal to audience and band members alike, and your band will sound like gold!
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: ST.EC44
ISBN 9790220220296.
Surviving incomplete and published here for the first time, the mass Inclina cor meum deus includes an editorial tenor part. In three of the six surviving antiphons editorial additions likewise substitute for missing material, though three others are too incomplete for reconstruction. A detailed biographical note updates our knowledge of the composer's career in the light of recently discovered documentation from the churchwardens' accounts of St Margaret's, Westminster.
SKU: CA.2091900
ISBN 9790007171711.
Volume 19 of the Schutz Complete Edition brings together 21 very different compositions from various phases of Schutz's compositional output. The spectrum ranges from a short, two-part sacred concerto to a six-part cyclical psalm setting and large-scale polychoral concerto, from well-known works such as the Osterdialog to a completely unknown madrigalian composition, full of emotion, to a simple chorale setting. A particular challenge was posed by the ten works or versions of works which survive incomplete. Two of these, the Christmas concerto Ach Herr, du Schopfer aller Ding SWV 450a and Ein Kind ist uns geboren SWV 497, appear here for the first time in print. With both of these it turned out that it was possible to reconstruct the missing parts fully from available material. For the Ultima Verba Psalmi 23, Gutes und Barmherzigkeit SWV 95 and the two Nunc dimittis: Herr, nun lassest du deinen Diener SWV 432 and 433, the editor's reconstructions are presented, and likewise with the chorale movement In dich hab ich gehoffet, Herr SWV 446. The impressive Easter dialog Weib, was weinest du SWV 443 is one of the works which survives incomplete. In order to give an impression of how the whole work might actually have sounded in the complete form as planned by Schutz, the Appendix to the volume contains a reconstruction of the four-part vocal setting of the missing final chorus, based on the surviving figured bass. The magnificent Gesang der drei Manner im feurigen Ofen (Song of the three men in the burning fiery furnace) SWV 448 from the book of the prophet Daniel, the original source of which is lost, is critically discussed and published with various possibilities for scoring.
SKU: CL.026-4511-01
Inspired by the calm and serenity of the lake which is the setting for one of America’s premiere fine arts camps, this beautiful ballad provides an excellent opportunity for teaching legato style and phrasing. This Build-A-Band edition presents this favorite work in a format accessible to smaller ensembles or those with incomplete instrumentation. Highly recommended!
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CL.026-4679-01
SKU: BR.OB-5557-16
ISBN 9790004341124. 10 x 12.5 inches.
The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work.Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.
SKU: BR.BV-47
ISBN 9783765100475. 6.5 x 10 inches.
Reprint of the edition Leipzig 1905 Zelenkas Messen - Prachtstucke barocker Chorliteratur in manchen Partien farbenfroher gesetzt als Bachs entsprechende Komposition. (Die Welt) Zelenka's Masses - fine specimens of Baroque choral literature some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt) die der Komponist selbst als ,,Missae ultimae bezeichnet hat. Im Gegensatz zu den beiden anderen ,,Missae ultimae besteht die Missa Dei Filii nur aus Kyrie und Gloria.Der Klavierauszug von Matthias Grunert basiert auf der von Paul Horn in Band 100 des Erbe deutscher Musik herausgegebenen Partitur in welcher die im Autograph gegen Ende des Gloria bestehenden Notentextlucken behutsam erganzt wurden.Zelenkas kunstlerische Personlichkeit seine Biographie und sein Komponistenstil fallen aus dem Rahmen. Sein Stil ist in hohem Mass experimentell ... War Zelenka wirklich einer der grossten Komponisten des 18. Jahrhunderts oder nur einer der interessantesten? Ich glaube er hat noch manche Uberraschung fur uns bereit. (Schweizerische Musikzeitung)Zelenkas Messen - Prachtstucke barocker Chorliteratur in manchen Partien farbenfroher gesetzt als Bachs entsprechende Komposition. (Die Welt) Dismas Zelenka. It belongs to an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae. Contrary to the two other Missae ultimae the Missa Dei Filii consists only of a Kyrie and Gloria.Matthias Grunert's piano vocal score is based on the critical edition of the score edited by Paul Horn in volume 100 of the Erbe deutscher.
SKU: BR.PB-5557
ISBN 9790004213674. 10 x 12.5 inches.
SKU: BR.OB-5556-27
ISBN 9790004342893. 10 x 12.5 inches.
The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae.The musical text of the present conductor's score is based on that of Volume 93 of the Denkmaler edition Das Erbe deutscher Musik. The new piano vocal score has been edited by the reputable expert Andreas Kohs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).
SKU: BR.EB-8051
The Missa Dei Patris is the first of three transmitted Missae ultimae. The piano vocal score is based on the score published by Reinhold Kubik in volume 93 of the series Das Erbe deutscher Musik, now available as PB 5556.
ISBN 9790004185070. 7.5 x 10.5 inches.
The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae. The musical text of the present conductor's score is based on that of Volume 93 of the Denkmaler edition Das Erbe deutscher Musik . The new piano vocal score has been edited by the reputable expert Andreas Kohs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)The Missa Dei Patris is the first of three transmitted Missae ultimae.
SKU: BR.OB-5556-23
ISBN 9790004342886. 10 x 12.5 inches.
SKU: BR.OB-5556-11
ISBN 9790004342831. 12.5 x 10 inches.
SKU: BR.OB-5556-30
ISBN 9790004342909. 10 x 12.5 inches.
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