| Sonata for Solo Violin Violin Merion Music
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530). ISBN 9781491136614. UPC: 680160687992. A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is. My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet No. 3 "in Flight Music" Score And Parts String Quartet: 2 violins, viola, cello Schott
String quartet (String Quartet) - difficult SKU: HL.49043938 'In Fligh...(+)
String quartet (String Quartet) - difficult SKU: HL.49043938 'In Flight Music'. Composed by Edward Cowie. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 1982-1983. 122 pages. Duration 15'. Schott Music #ED13390. Published by Schott Music (HL.49043938). ISBN 9790220133923. 9.25x12.0x0.494 inches. The 3rd String Quartet was originally composed in 1982-3 to a commission from The Adelaide Festival, and premiered by The Petra Quartet in 1983. Subsequent to this quartet, I have composed two more; No. 4 in 1986 and No. 5 in 2002.The offer to re-publish this work, led me to begin by a process of amendment, but ended in the composition of a virtually new quartet! Only parts of the original quartet have been retained. I also chose to 'frame' (in my case this means an inspirational focus and filter), the quartet in a new way too.In Flight Music keeps the 4-movement format of the original quartet, but is now directly linked to a life-long interest in flight. The first two movements are concerned with aspects of humans in flight, whilst the last two deal with insects and birds respectively.Since all my music is these days preceded by visualisations in the form of drawings, wherever possible, this quartet might be performed with the four drawings, one for each movement, back-projected behind the players.Digital copies of these drawings may be obtained from Schott Music.Edward Cowie.Maurens. France. August, 2010. $73.00 - See more - Buy online | | |
| The Simpsons Songbook - 2nd Edition Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Alf Clausen, Danny Elfman. Piano/Vocal/Chords Songbook (Arrangements for pian...(+)
By Alf Clausen, Danny Elfman. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 104 pages. Published by Hal Leonard.
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| First Amendment Marching band [Score and Parts] - Easy C.L. Barnhouse
Grade 2 SKU: CL.058-2173-00 Composed by K. Harris. Marching Band. Score a...(+)
Grade 2 SKU: CL.058-2173-00 Composed by K. Harris. Marching Band. Score and set of parts. Composed 1989. C.L. Barnhouse #058-2173-00. Published by C.L. Barnhouse (CL.058-2173-00). March. $28.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First Amendment - Easy C.L. Barnhouse
Grade 2 SKU: CL.058-2173-01 Composed by K. Harris. Marching Band. Extra s...(+)
Grade 2 SKU: CL.058-2173-01 Composed by K. Harris. Marching Band. Extra score. C.L. Barnhouse #058-2173-01. Published by C.L. Barnhouse (CL.058-2173-01). March. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Radamisto HWV 12b Barenreiter
Solo voices, orchestra (4 Soprano Voice Solo, Mezzo-Soprano Voice Solo, 2 Bass V...(+)
Solo voices, orchestra (4 Soprano Voice Solo, Mezzo-Soprano Voice Solo, 2 Bass Voice Solo, Fl, 2 Ob, bassoon, 2 Hn, 2 Trp, Str, Continuo) SKU: BA.BA04066 Opera seria in three acts. Composed by George Frideric Handel. Edited by Terence Best. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series II, Volume 9,2. 2nd version. Complete edition, Score. HWV 12. Duration 3 minutes. Baerenreiter Verlag #BA04066_00. Published by Baerenreiter Verlag (BA.BA04066). ISBN 9790006495832. 33 x 26 cm inches. Text Language: Italian. Nicola Francesco Haym. This volume of the “Halle Handel Edition†presents the music of the second version of the opera which was premiered on 28 December 1720 at the King's Theatre, Haymarket, London as well as the amendments made for November 1721 revival. The appendix includes the amendments for the January/February 1728 version.
The first season of the Royal Academy ended on 25 June 1720. The new vocal soloists arrived in London in September. As the first version of “Radamisto†had been a great success during the first season, Handel revised the opera for the oncoming season to accommodate it to his new more proficient cast.
The revision was extensive. It included: 1) Changes to the vocal range of Radamisto (soprano to alto for the singer Senesino), Zenobia (alto to soprano for the female singer Durastanti) and Tiridate (tenor to bass for the singer Boschi), 2) compositions of new arias and ensembles, 3) significant changes to the plot consisting of the reduction of Fraartes’ role from brother to servant Tiridates and the omission of his not so original love affair to Zenobia.
For most of Handel's operas it can be said that the first version is the best version. This is due to the fact that when a work was performed again in later seasons, Handel was often forced to make changes due to casting constraints which often affected the equilibrium and the dramatic context of the work. “Radamisto†is an exception to this rule – the December 1720 adaptation is a much more superior composition than the version performed in April of the same year.
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
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| Psalm 98 "Sing to the Lord a new-made Song" op. posth. 91 MWV A 23 Organ Barenreiter
Organ SKU: BA.BA09076-67 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ SKU: BA.BA09076-67 Composed by Felix Bartholdy Mendelssohn. Edited by John Michael Cooper. This edition: urtext edition. Folded. Barenreiter Urtext. Single part. MWV A 23. 3 pages. Baerenreiter Verlag #BA09076_67. Published by Baerenreiter Verlag (BA.BA09076-67). ISBN 9790006531554. 32.5 x 25.5 cm inches. Text: William Bartholomew. Mendelssohn's setting of Psalm 98 was written in a few weeks to satisfy a commission in his new position as general music director of Prussia and was premiered by the Berlin Cathedral Choir on 1 January 1844. As he neither released the work for publication nor produced a vocal score, his psalm setting did not appear in print until after his death.
For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The piano reduction is based on the first printed edition, published by F. Kistner and Evers & Co. in 1851. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
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| Concerto No. 1 in B-flat Minor, Op. 23 Schott
Orchestra; Piano (Score) SKU: HL.49047099 Score and Critical Report, C...(+)
Orchestra; Piano (Score) SKU: HL.49047099 Score and Critical Report, Complete Edition. Composed by Peter Illyich Tchaikovsky. Edited by Ada G. Ajnbinder and Polina Vajdman. Edition Schott. Classical. Hardcover. Schott Music #NCE2085. Published by Schott Music (HL.49047099). ISBN 9781705187517. UPC: 196288121718. The aim of the edition is to present the composers enormous legacy as it is known today, as exhaustively as possible. Every musicaltext published in this edition is an outcome of the comprehensive analysis of extant sources realized by the scientific editor of the respective volume. According to several sources, P. I. Tchaikovsky himself was aware that the changes and amendments, he enteredinto his scores, would be of great importance for his works' future performers. The present project's important scientific objectives include the fixation and thoroughly verified reproduction of all the changes made by the composer, so that the scholars and musicians of today could perceive and realize the author's creative ideas in all their entirety. $315.00 - See more - Buy online | | |
| Morrissey and Marr: The Severed Alliance Biography Omnibus Press
Performed by Morrissey. by Johnny Rogan. Music Biography. 392 pages, 6 x 9. This...(+)
Performed by Morrissey. by Johnny Rogan. Music Biography. 392 pages, 6 x 9. This item is a book (not sheet music). Published by Omnibus Press.
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| Matteo Carcassi: 25 Études op. 60 Vol. 14 Guitar - Easy Music Distribution Services
Guitar - easy to intermediate SKU: M7.GHE-914 Faksimile of Llobet's em...(+)
Guitar - easy to intermediate SKU: M7.GHE-914 Faksimile of Llobet's emendet copy of the Rowies Edition, Paris 1914. Composed by Matteo Carcassi. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music. Op. 60. 36 pages. MDS (Music Distribution Services) #GHE 914. Published by MDS (Music Distribution Services) (M7.GHE-914). ISBN 9783890449142. English. The fingering on nearly all 'modern' editions of the Carcassi studies Op. 60, to a very large extent if not almost completely, derives originally from Llobet, who in his Rowies, Paris 1914 edition was the very first to publish RH fingering for them. Many modern editors just put their own names on what was Llobet's fingering, thus silently claiming it as their own. A process being continued even to this day. We are pleased to present a carefully restored facsimile of this edition from Llobet's library with all his fingering and emendations intact. $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concerto for Violin and Orchestra in E minor, op. 64 Orchestra, Violin Barenreiter
Solo Violin and Orchestra (V-solo,2Fl,2Ob,2Clar-iA, 2bassoon,2Hn,2Trp,Timp,2V ,V...(+)
Solo Violin and Orchestra (V-solo,2Fl,2Ob,2Clar-iA,2bassoon,2Hn,2Trp,Timp,2V,Va,Vc,Db) SKU: BA.TP00394 Composed by Felix Bartholdy Mendelssohn. Edited by Clive Brown and R. Larry Todd. This edition: urtext edition. Paperback. Barenreiter Urtext. Late version 1845. Study score. Opus 64. Duration 00:26:00. Baerenreiter Verlag #TP00394_00. Published by Baerenreiter Verlag (BA.TP00394). ISBN 9790006203086. 22.5 x 16.5 cm inches. Key: E minor. Preface: Todd, R. Larry / Brown, Clive / Sutcliffe, Richard. This standard work of the cello literature has been extracted from volume II of the Complete Works for Violoncello and Pianoforte (BA 9096 and BA 9097) which was published in 2016. Mendelssohn scholar R. Larry Todd edited the scholarly-critical edition ofSong without Words.
This work is not based on the surviving autograph manuscript, which could not have been the basis for the posthumous first edition, but rather on the only plausible source: the German first edition itself. This was published in 1868 as op. 109 and is unquestionably based on an untraceable complete final manuscript, perhaps once previously owned by the dedicatee, French cellist Lisa Barbier Cristiani.
The publication is free from editorial amendments and modern performance instructions and provides an excellent basis for musical interpretation.
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
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Two Pianos Vol. 2 2 Pianos, 4 hands - Intermediate Schott
2 Pianos, 4 Hands; Piano Duet - intermediate to advanced SKU: HL.49030414 ...(+)
2 Pianos, 4 Hands; Piano Duet - intermediate to advanced SKU: HL.49030414 Lincolnshire Posy. Composed by Percy Aldridge Grainger. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1938. 40 pages. Duration 16'. Schott Music #ED12580. Published by Schott Music (HL.49030414). ISBN 9790220118623. UPC: 841886031890. 9.0x12.0x0.194 inches. $27.95 - See more - Buy online | | |
| Idomeneo K. 366 (Vocal score) Soli, Mixted choir and accompaniment Barenreiter
Dramma per musica in three Acts. Composed by Wolfgang Amadeus Mozart (1756-179...(+)
Dramma per musica in three
Acts. Composed by Wolfgang
Amadeus Mozart (1756-1791).
Edited by Daniel Heartz.
Arranged by Hans-Georg Kluge.
This edition: urtext edition.
Hardback. Barenreiter Urtext.
Vocal score vokal. KV 366.
Baerenreiter Verlag #BA04562-
93. Published by Baerenreiter
Verlag
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| Fernando Sor: Études pour la guitare op. 6, 29, 31, 35 Vol. 13 Guitar - Advanced Music Distribution Services
Guitar - advanced SKU: M7.GHE-913 Faksimiles of Llobet's annotated cop...(+)
Guitar - advanced SKU: M7.GHE-913 Faksimiles of Llobet's annotated copies. Composed by Fernando Sor. Edited by Stefano Grondona. Arranged by Miguel Llobet. This edition: Saddle-wire stitching. Sheet music. Op. 6, 29, 31, 35. 124 pages. MDS (Music Distribution Services) #GHE 913. Published by MDS (Music Distribution Services) (M7.GHE-913). ISBN 9783890449135. English. A unique view of Llobet, as a champion and arranger of Sor. The Sor studies reproduced in facsimile are from Llobet's own library. In an interview in Barcelona in 1929, which is reproduced in full in this edition, Llobet announced his intention of preparing a new edition of the Sor studies. Judging by the density of his marking and copious added and altered fingering in this facsimile edition, he seemed in fact to be doing just this. Unfortunately, a new edition edited by him never came to fruition! We have prepared our facsimile edition of these later printings of Simrock editions (a gift from Erwin Schwarz-Reiflingen in 1928), carefully restoring the originals to make these pages clearer, so that not only is everything more legible, but most importantly, all of Llobet´s fingerings and amendments are clearly legible. In this volume dedicated to Sor, we have re-engraved for inclusion here all 6 of Llobet's very fine Sor transcriptions from La Guitarra in Argentina, fingered and arranged by Llobet. $53.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Gurrelieder: History Of The Work And Documents Orchestra Schott
Vocal soloists, choir and orchestra SKU: HL.49017759 History of the wo...(+)
Vocal soloists, choir and orchestra SKU: HL.49017759 History of the work and documents. Composed by Arnold Schoenberg. Edited by Ulrich Kraemer. This edition: Full-cloth binding. Sheet music. Arnold Schoenberg - Complete Works. Complete edition. 332 pages. Schott Music #AS1016-23. Published by Schott Music (HL.49017759). ISBN 9783795794187. 9.0x12.0x0.997 inches. German. This volume contains the editorial notes on the 'Gurre-Lieder' score published in series A, volume 16, 1. Apart from a detailed description of the sources and critical notes, it provides a tabular list of errata, omissions and oversights in the musical text of the primary source. In addition, it contains a line-by-line comparison of the different texts and versions as well as a comparison of the subsequent amendments, tracing back to Schoenberg himself, to the primary source and all secondary sources included in the revision process. $323.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| An Episode at a Masquerade: Symphonic Poem for Orchestra, Op. 14 Orchestra PWM (Polskie Wydawnictwo Muzyczne)
Orchestra SKU: HL.215244 The Works of Mieczyslaw Karlowicz Volume 11(+)
Orchestra SKU: HL.215244 The Works of Mieczyslaw Karlowicz Volume 11. Composed by Mieczystaw Karlowicz. PWM. Classical. Hardcover. 140 pages. Polskie Wydawnictwo Muzyczne #11592010. Published by Polskie Wydawnictwo Muzyczne (HL.215244). 12.0x17.0x0.63 inches. Hardcover full score. Text in Polish, German, and English. This edition of the works of Mieczyslaw Karlowicz is based on critically examined sources. It includes all his compositions. The aim of the edition is to present the composer's original text as authentically as possible. This is not an easy task. The source materials of Karlowicz's music are very diverse in nature. Apart from most of the songs, the composer prepared for printing and published in his lifetime the following: Serenade for Strings Op. 2, Prelude and Fugue Op. 5, Concerto in A major for Violin and Orchestra Op. 8, Returning Waves Op. 9 and Eternal Songs Op. 10. Being highly experienced in writing for a symphony orchestra, and knowledgeable in the modern method of instrumentation in the neoromantic style, he prepared his scores with great care. The remaining symphonic poems were not published before the composer's death; and the 'Rebirth' Symphony, the manuscript of which miraculously survived the ravages of World War II, was issued only in 1993, as part of the present Complete Works edition. During this war the autographs of the most compositions by Karlowicz, including all his symphonic poems (except for The Sorrowful Tale), were lost. The present publication, therefore, is based as a rule on the first editions, compared with extant autographs or authorized copies of the scores. The amendments of misprints or self-evident mistakes on the part of the composer are not indicated graphically in the text but referred to in the Editorial Notes. $112.00 - See more - Buy online | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Martyre de Saint Sebastien Durand
(Serie VI, volume 4) Piano; Voice SKU: HL.50565881 Mystere en cinq act...(+)
(Serie VI, volume 4) Piano; Voice SKU: HL.50565881 Mystere en cinq actes de G. d'Annunzio Vocal Score. Composed by Claude Debussy. Editions Durand. Classical. Softcover. 112 pages. Editions Durand #DD1620300. Published by Editions Durand (HL.50565881). In this new version, the vocal score of Debussy Martyre de saint Sebastien made by Andre Caplet has been made consistent to the critical edition of the work by Edmond Lemaitre, by reporting texts missing in the original edition (DD 8171) and by amending music errors. $30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Choral SATB [Score and Parts] - Intermediate Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso continuo - Level 3 SKU: CA.3118219 Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Himmelskonig, Sei Willkommen A-Dur. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Set of Orchestra Parts. Composed 1714. BWV 182. Duration 30 minutes. Carus Verlag #CV 31.182/19. Published by Carus Verlag (CA.3118219). ISBN 9790007136949. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck. Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and parts available separately - see item CA.3118200. $84.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Soli, Mixted choir and accompaniment - Intermediate Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso continuo - Level 3 SKU: CA.3118212 Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Himmelskonig, Sei Willkommen A-Dur. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Viola 1. Composed 1714. BWV 182. 8 pages. Duration 30 minutes. Carus Verlag #CV 31.182/12. Published by Carus Verlag (CA.3118212). ISBN 9790007050290. Key: A major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck. Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Choral SATB - Intermediate Carus Verlag
Soli ATB, SATB Choir, Blfl f1, 2 Vl, 2 Va, Vc, Bc - Level 3 SKU: CA.3118249(+)
Soli ATB, SATB Choir, Blfl f1, 2 Vl, 2 Va, Vc, Bc - Level 3 SKU: CA.3118249 Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. Organ. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Organ. Composed 1714. BWV 182. 28 pages. Duration 30 minutes. Carus Verlag #CV 31.182/49. Published by Carus Verlag (CA.3118249). Key: A major. Language: German/English. Text: Franck, Salomo. Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score and part available separately - see item CA.3118200. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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