SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: BR.EB-9304
ISBN 9790004187685. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: M7.RMP-3403
ISBN 9790352034037. UPC: 854004008032. English Russian.
A must for the meticulous study of Rachmaninoff's preludes!Volume 3 of the practical urtext editions of the complete works for piano by Sergei Rachmaninoff for the first time also contains in its appendix first versions and variants of entire preludes as well as original variants by the composer of individual text fragments.Based on the unreduced musical text from the Rachmaninoff Critical Edition, the edition also contains a detailed preface, information on the history of the compositions and colour facsimile reproductions of autograph manuscripts.For the first time, Rachmaninoff's complete works for piano solo are published in eight volumes. The practical urtext editions with unreduced musical text from the Rachmaninoff Critical Edition contain detailed information on the history of the compositions, world premieres and publications as well as notes on the editorial principles and the characteristic features of Rachmaninoff's piano notation.A must for the meticulous study of Rachmaninoff's preludes!Volume 3 of the practical urtext editions of the complete works for piano by Sergei Rachmaninoff for the first time also contains in its appendix first versions and variants of entire preludes as well as original variants by the composer of individual text fragments.Based on the unreduced musical text from the Rachmaninoff Critical Edition, the edition also contains a detailed preface, information on the history of the compositions and colour facsimile reproductions of autograph manuscripts.
SKU: CF.FAS21
ISBN 9780825853067. UPC: 798408053062. 8.5 X 11 inches. Key: B minor.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece.As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.-Larry ClarkNew York, NY 2003.
SKU: CF.CM9599
ISBN 9781491154212. UPC: 680160912711. 6.875 x 10.5 inches. Key: Eb major. English, Latin. Original.
A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.A dynamic opener or closer for any concert program,A Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-tehA A DAW-mee-nawA A KAHN-tee-koomA A A NAW-voom, Kahn-TAH-tehA A DAW-mee-nawA A AWM-neesA A A TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing.The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness.Observe the sudden dynamic changes in the final A-section.Latin pronunciation:Kahn-TAH-teh  DAW-mee-naw  KAHN-tee-koom   NAW-voom,Kahn-TAH-teh  DAW-mee-naw  AWM-nees   TEH-rah.Latin text translation:Sing to the Lord a new song,Sing to the Lord all the earth.
SKU: HL.49045907
ISBN 9783795710507. UPC: 888680792671. 9.0x12.0x0.239 inches.
The Easy Concert Pieces series for alto saxophone and piano provide easy to intermediate pieces from the Renaissance to the modern era for music lessons, concert performances or private music-making. The volumes with accompanying CD add to the not very extensive repertoire of performance pieces for saxophone. They were carefully selected according to technical and musical requirements and arearranged in three volumes according to their level of difficulty. All pieces are included on the accompanying CD as demo and play-along versions (piano accompaniment). The piano part contained in the volume is very easy so that it can even be played by a pupil, e.g. at a music school concert. Volume 1 (ED 22553) contains easy pieces which mainly range from d' to c'', occasionally even to d'''. The keys range from C to D major or the respective minor keys. This volume contains works by Charpentier, Vivaldi, Handel, Bach, Haydn, Mozart, Beethoven, Smetana, Putz, Moser, and others. Volume 2 (ED 22554) contains intermediate pieces ranging from c' to e''', with unusual metres and demisemiquavers appearing occasionally. Including works by Wolkenstein, Peuerl, Schein, Purcell, Telemann, Handel, Mozart, Beethoven, Gounod, Humperdinck, Elgar, and others. Volume 3 (ED 22942) - in preparation: Will contain pieces at even higher levels of difficulty and add further works to the repertoire.
SKU: GI.G-9000K
This edition is the Keyboard Landscape version which comes in 4 separate spiral bound volumes. This edition, while being smaller in font size, allows for 4 pages of music to be visible at one time, reducing the number of page turns. Volume 1 contains Liturgy of the Hours, Psalmody, and Rites, Volume 2 contains all of the Order of Mass, Mass Settings, and Service Music, Volumes 3 and 4 contain the Hymns and Songs. Each volume has a complete Index of First Lines and Common Titles in the back. Ritual Song—Second Edition includes music that has withstood the test of time, the best of new music we have gained since the first edition, and the most successful mass settings and service music written since the implementation of the Revised Order of Mass. With an expanded repertoire of music for rituals surrounding the RCIA, initiation, funerals, and healing services, this hymnal will appeal to communities that embrace a broad range of worship styles. Ritual Song—Second Edition contains:    •   A balanced mix of musical styles from chant to contemporary and everything in between    •   Two complete Lectionary psalters    •   Select pieces from the popular Lyric Psalter along with other lyrical psalm settings    •   11 complete mass settings including Tony Alonso's new setting, Mass of Christ, Light of the Nations    •   Orders of service for Taizé Prayer, Stations of the Cross, and other popular forms of prayer and devotions    •   An expanded repertoire of music for rituals including RCIA, penance, funerals, healing services, and more    •   A wide selection of world music and music from the Taizé and Iona Communities    •   A diversity of languages for bilingual or multilingual worship    •   The best music from every respected publisher serving the Roman Catholic Church.
SKU: CA.240900
ISBN 9790007186104.
Anyone looking for a wide-ranging selection from the classic treasury of songs from German-speaking countries in a beautifully-produced volume will strike lucky with this song book. Families with children will enjoy using this volume over the years. The choice of songs is as colorful as life itself: songs for celebrations, for telling stories, playing, laughing and dancing, enjoying the seasons, friendship, the pleasures and pains of love, going to sleep. As well as folk songs, the book also contains songs from other countries which have already become standards, plus lots of rounds. The song book contains over 160 songs with melodies, texts, and chord symbols. The singalong CD (mp3 format) contains one or two verses of all the songs recorded on different instruments. An invaluable support for learning and singing together. Frank Walka has produced numerous expressive paintings specially for the song book. Scattered throughout the music pages as double page illustrations, these invite you to explore the songs and tell their stories in a unique way. Die schonsten Lieder (The most beautiful songs) is part of the prize-winning LIEDERPROJEKT. There is a voice and piano volume for the song book containing accompaniments to all the songs, as well as two CD collections.
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