Orchestra

SKU: BR.SON-509

Filmmusik zu Nuit et brouillard. Composed by Hanns Eisler. Edited by Knud Breyer and Oliver Dahin. Hardback. Complete Works. Early modern; Music post-1945. Complete Works. 156 pages. Breitkopf and Haertel #SON 509. Published by Breitkopf and Haertel (BR.SON-509).

ISBN 9790004803318. 10 x 12.5 inches.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

SKU: BR.BV-348

Briefe 1907-1943. Composed by Hanns Eisler. Edited by J. Schebera and M. Koster. Hardback. Buchverlag Breitkopf & Hartel (Music Books). Early modern; Music post-1945. Complete Works. 560 pages. Breitkopf and Haertel #BV 348. Published by Breitkopf and Haertel (BR.BV-348).

ISBN 9783765103483. 5.5 x 8.5 inches. German.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

First violin (1. Violin)

SKU: BA.BA06939-74

Psalm 103. Composed by Johann Kuhnau. Edited by Evangeline Rimbach. Stapled. Chor-Archiv. Musik der Thomaskantoren zu Leipzig. Single part. Baerenreiter Verlag #BA06939_74. Published by Baerenreiter Verlag (BA.BA06939-74).

ISBN 9790006493692. 27 x 19 cm inches.

SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo

SKU: CA.1036913

Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Viola. Composed 1708. 2 pages. Duration 19 minutes. Carus Verlag #CV 10.369/13. Published by Carus Verlag (CA.1036913).

ISBN 9790007190545. Key: F major. Language: German/English.

The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900.

Chorus (with soloists) and orchestra (solos: SATB - 2.2.0.1 - 0.0.0.0 - str - bc)

SKU: BR.EB-32117

Cantata for Pentecost - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Edition Breitkopf. Cantata; Baroque. Piano/Vocal Score. Duration 25'. Breitkopf and Haertel #EB 32117. Published by Breitkopf and Haertel (BR.EB-32117).

ISBN 9790004187258. 7.5 x 10.5 inches.

The cantata Schmucket das Fest mit Maien has survived without any information about the time of its composition, its purpose, or its scoring. The librettist is also unknown, although there is a comparatively similar text in the work of the Silesian poet Hans Assmann Freiherr von Abschatz (1646-1699), printed in Leipzig in 1704. Since the copy of the score that serves as the source for this edition was probably written after 1708, and the work is closely related to the cantata Daran erkennen wir (PB 32090), it could have been written during Kuhnau's first years as Thomaskantor from 1701 on.The text set to music provides information about the purpose of the cantata. In the course of the work, the image of the bridegroom and his bride from the Song of Songs is reinterpreted as the sending of the Holy Spirit upon the congregation of Christians. In the first part, passages from the Song of Songs predominate while the second part quotes their symbolic interpretations or treats them in free poetry. In the concluding chorale, a stanza from Philipp Nicolai's Wie schon leuchtet der Morgenstern (How beautifully the morning star shines), the outpouring and the flames are also mentioned, so the purpose to the feast of Pentecost is clear.Another special feature of the cantata is the varied and colorful instrumentation with the scoring of two flutes, two oboes and bassoon in individual movements, in addition to the usual, sometimes divided strings.

Chorus and piano (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.EB-32034

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Edition Breitkopf. Cantata; Baroque. Piano/Vocal Score. Duration 9'. Breitkopf and Haertel #EB 32034. Published by Breitkopf and Haertel (BR.EB-32034).

ISBN 9790004186398. 7.5 x 10.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Uber den Namen (BACH). Composed by Ernst Ludwig Leitner. Composed 1973. Published by Doblinger Music Publishers (DB.02-00307).

Orchestra S(A)TB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo - Grade 3

SKU: CA.3910514

Kantate zum 1. Advent. Composed by Georg Philipp Telemann. Edited by Traugott Fedtke, Klaus Hofmann. Arranged by Traugott Fedtke. This edition: urtext. Stuttgart Urtext Edition: Telemann-Archiv. German title: Machet die Tore weit. Innovative practice aids, Sacred vocal music, Cantatas, Psalms, German, Advent, Praise and thanks. Single Part, Cello/Double Bass. TVWV 1:1074. 8 pages. Duration 16 minutes. Carus Verlag #CV 39.105/14. Published by Carus Verlag (CA.3910514).

ISBN 9790007055257. 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.

SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso continuo

SKU: CA.1036949

Christmas cantata. Composed by Christian August Jacobi. Edited by Tobias Nicolaus. Also Hat Gott Die Welt Geliebet. Sacred vocal music, Cantatas, Christmas. Single Part, Organ. Composed 1708. 8 pages. Duration 19 minutes. Carus Verlag #CV 10.369/49. Published by Carus Verlag (CA.1036949).

ISBN 9790007190576. Key: F major. Language: German/English.

The Bach contemporary Christian August Jacobi is among those composers who made a lasting impression among 18th century Middle German composers, since the influence of the Thomaskantor himself was limited primarily to Leipzig. Jacobi's cantatas are richly varied and they not too difficult to perform. Five of the six movements of the Christmas cantata Also hat Gott die Welt geliebet for soli, choir, strings and basso continuo are based on Luther's Christmas chorale Vom Himmel hoch, da komm ich her, which give the work a traditional character (the text of the first movement is based on the Gospel of St. John). The richly varied instrumentation and alternation between choral movements and duets by the soloists bring to the sound of the cantata a variety which will also be enhanced by the use of the harp (ad libitum). Score and part available separately - see item CA.1036900.

Brass Band - Grade 3

SKU: BT.AMP-106-030

Composed by Charles Hubert Hastings Parry. Arranged by Philip Sparke. Anglo Music Midway Series. Festive and Solemn Music. Set (Score & Parts). Composed 2004. Anglo Music Press #AMP 106-030. Published by Anglo Music Press (BT.AMP-106-030).

Everyone will instantly recognise this great patriotic hymn that is often thought of as the second English national anthem. This brass band arrangement by Philip Sparke is sure to be used over and over again at your band’s performances. Your audience will not be able to help themselves from joining in with this rousing song everytime you use it as the final item in any concert.

Bachs Anstellung im Jahr 1723 als Kantor der Thomaskirche in Leipzig brachte die Verpflichtung mit sich, für jeden Sonntagsgottesdienst eine neue Kantate zu schreiben. Der Choral Jesus bleibet meine Freude umfasst beide Teile der Kantate und ist ungewöhnlich kunstvoll ausgearbeitet, mehr wie eine der Arien denn eine Kantate. Philip Sparkes Transkription dieses beliebten Kantatensatzes ist eine wahre Bereicherung Ihres Repertoires.

Sir Hubert Parry (1848-1918) set William Blake’s Preface to Milton to music for a rally of the ‘Fight for the Right’ movement in the Queen’s Hall, London, in 1916. It became more generally known as ‘Jerusalem’ when Parry conducted it in 1918 at a concert to mark the final stage in the Votes for Women Campaign, after which it was adopted by the National Federation of Women’s Institutes (and is still sung at meetings of WI Groups all over Britain). Sir Edward Elgar added his orchestral accompaniment in time for the Leeds Festival of 1922, since then it has become a popular national hymn. The theme is uniquely English and there is an undertone of 19th century politics. Thisarrangement by Philip Sparke is sure to be used over and over again at your band’s performances.

SSATB choir, basso continuo

SKU: CA.180800

Aus: Israelsbrunnlein. Composed by Johann Hermann Schein. Edited by Gunter Graulich. Arranged by Paul Horn. German title: Ich bin jung gewesen. Sacred, Motets; Occasions: Psalms. Full score. Composed 1623. No. 8. Duration 3 minutes. Carus Verlag #CV 01.808/00. Published by Carus Verlag (CA.180800).

ISBN 9790007037734. Language: German/English.

Johann Hermann Schein's Israelsbrunnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written in the Italian madrigal manner 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the inexhaustible fountain of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament.

Violin 2 (solos: SST - choir: SATB(SATB) - 2.2.2.2 - 4.2.3.0 - timp - org - str)

SKU: BR.OB-5102-16

Symphony-Cantata - Urtext. Composed by Felix Bartholdy Mendelssohn. Edited by Wulf Konold. Choir; stapled. Orchester-Bibliothek (Orchestral Library). The Urtext edition of the Lobgesang Symphony is the first to take into account the parts which were written for the first performances in Leipzig and which help clear up a number of discrepant readings. Have a look into CHB 5296. Cantata; Romantic. Part. 34 pages. Duration 65'. Breitkopf and Haertel #OB 5102-16. Published by Breitkopf and Haertel (BR.OB-5102-16).

ISBN 9790004332443. 10 x 12.5 inches.

Felix Mendelssohn Bartholdy was commissioned by the city of Leipzig to write the Symphony Cantata Lobgesang for the 400th anniversary of the invention of the printing press by Johannes Gutenberg. The work was given its first performance in Leipzigs Thomaskirche on 25 June 1840. Another performance took place at the Birmingham Music Festival on 23 September 1840. The composer created a hybrid genre here, a formal designation that he took quite literally and which he used here for the first and only time: after the three symphonic movements have flowed one into the other attacca, comes the Lobgesang Cantata in several sections Alles, was Odem hat. The present Urtext edition is the first to take into account the parts which were written for the first performances in Leipzig and which help clear up a number of discrepant readings.,,Der Herausgeber hat sich die Muhe gemacht, die 1841 im selben Verlag erstveroffentlichte Partitur mit dem Erstdruck der Stimmen zu vergleichen und konnte mit im Stimmensatz gefundenen Angaben zur Artikulation, Dynamik etc. die neue Partitur enorm bereichern. (Hans Gebhard, Chor und Konzert )

The Urtext edition of the Lobgesang Symphony is the first to take into account the parts which were written for the first performances in Leipzig and which help clear up a number of discrepant readings.