SKU: JU.00-GSOC00076
UPC: 029156066869. 9x12 inches. Key: D major. English. Arranged.
Looking for an intermediate-level, tasteful arrangement of the popular Pachabel Canon in D? Here's your answer. Tucker has arranged this famous melody with weddings in mind. It works well for both a processional or pre-service selection. Easily learned, this arrangement sounds more difficult to play than it actually is. A top seller!
SKU: SU.80101509
Three Canonic Pieces (2022) contains Prelude and Canon, Toll and Canon, and Introduction and Canon. Each is based on canonic principles. They were conceived and written as three independent pieces, although they can also be played as group of three or as any subset of two.Organ Duration: 15' Composed: 2022 Published by: Zimbel Press.
SKU: SU.80101468
Fantasia canonica (2019) was commissioned in celebration of the installation of Charissa Simmons as Canon for Children and Families, Trinity Episcopal Cathedral, Portland, Oregon, October 6, 2019. The festive piece is built entirely from a theme derived from the letters of the dedicatee's name converted to musical notes. Instrumentation: Organ Duration: 6' Composed: 2019 Published by: Zimbel Press.
SKU: HL.48184657
UPC: 888680843212. 9.0x12.0x0.058 inches.
Robert Alexander Schumann: Canon Op.56, No.5 In B Minor (Maitres Classiques No.31) (Organ).
SKU: CA.3550300
ISBN 9790007165161. Text language: Latin.
Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass.
SKU: CA.3550305
ISBN 9790007165222. Text language: Latin.
Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score available separately - see item CA.3550300.
SKU: HL.49046723
UPC: 842819115625.
These variations are based on the choral Freu dich sehr, o meine Seele. Variation I, Maestoso, presents a solemn, canonic statement of the theme enveloped by dense, closely-knit harmonies. Variation II, Allegro, is clothed in polyphonic lines reminiscentof Bach's Orgelbuchlein chorales. Variation III, Vivace, is a playful bicinium with the cantus firmus featured in the soprano line, as the bass bounces along in a staccato duet. Variation IV, Adagio, displays rich chromatic harmonies which form a lush backdrop for the pedal solo. Variation V, Vivace, features the chorale in detached left hand notes while the right hand and pedal provide a playful accompaniment. In Variation VI, Andante, the melody vacillates between minor and major keys as syncopated left hand chords and pizzicato bass accompany the cantilena. In the concluding Variation VII, Presto, the left hand proclaims the theme in block chords as the right hand provides an exuberant garland of sixteenth notes while the pedal provides rhythmic drive with tympanic accents.
SKU: BT.PMC3367
Each of the five connected movements in this choral cycle contains references to 'Light,' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personal comfortand solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels - spiritual, artistic and intellectual. The work opens and closes with the beginning and ending of theRequiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux and Veni, Sancte Spiritus. The opening Introitus introduces several themes that recur later in the work and includes an extended canonon et lux perpetua. In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook, 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni,Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the openingsection of the Introitus and concludes with a joyful celebratory Alleluia. --Morten Lauridsen.
SKU: BR.EB-9300
ISBN 9790004187647. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: Stuttgart, Hospitalkirche, March 28, 2018.
SKU: HL.48184602
UPC: 888680853921. 9.0x12.0x0.204 inches.
Part of the Organ collection by J. S. Bach, this first book of the Volume X Three Chorals Transcriptions, Three partitas and canonical variations, book 1 (BWV 645, 646, 647, 766, 767, 768) contains six pieces and is completed by the second book. The six pieces that feature in this book are three choral-transcriptions and three chorals with variations: 1. Awake, The Watchmen ery out 2. Whither shall I flee 3. He that suffereth God to guide him 4. Partite on ?Christ, Thou who Art the light of the day? 5. Partite on ?O God, Thou Holy God? 6. Partite on ?Hail to Thee merciful Jesus? This volume is translated in English and French and features the annotation of Marcel Dupre, a French Organist, to help the performer get the most our of the sheet music. The preface is also well written, with explanations of the comments and descriptions of the techniques to use for an accomplished interpretation of this work. .
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