SKU: BT.MUSUMP22348

ISBN 9781785586736.

Nueva Biblioteca Espanola de musica de teclado Vol.7 revised and transcribed by Antonio Baciero.

SKU: BR.OB-5209-16

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'

ISBN 9790004330715. 10 x 12.5 inches.

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'.

SKU: BR.OB-5209-15

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'

ISBN 9790004330708. 10 x 12.5 inches.

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'.

SKU: BR.OB-5209-26

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'

ISBN 9790004330722. 10 x 12.5 inches.

This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'.

SKU: BR.OB-4843-15

ISBN 9790004322826. 9 x 12 inches.

Die Veroffentlichung der Weihnachts-Pastorella erfolgt nach den alten Stimmen, die das Nationalmuseum in Prag unter der Signatur XII A 148 aufbewahrt.Der Bibliothek sei an dieser Stelle fur die Anfertigung der Photokopien herzlichst Dank gesagt. Der Originaltext ist in tschechischer Sprache abgefasst, dessen Anfang lautet ,,Narodil se Kristus Pan; das alte, tschechische Weihnachtslied gleichen Textanfangs ist in der Komposition verarbeitet. In Deutschland ist dieser Weihnachtsgesang mit dem Text ,,Freu dich, Erd und Sternenzelt bekannt und weit verbreitet.Die wortliche Ubersetzung, die der gereimten Version dieser Ausgabe als Unterlage diente, erstellte dankenswerterweise Herr Peter Geeringer, Frankfurt/Main; sie hat folgenden Wortlaut:,,Christus, der Herr, ist geboren, freut euch, der Rose ist eine Blute entsprossen, freut euch. Eia, also freuen wir uns alle miteinander, durch Christi Geburt werden wir alle getrostet. Freuen wir uns, feiern wir diesen Geburtstag, lasst uns wohlklingende Musik machen! - Michel, wo hast du deinen Dudelsack? Saume nicht, geh ihn holen! lgnaz, sei auch bereit, hole schnell den Dudelsack! Ruft gleich den Tobias, er soll nicht zaudern und sein Instrument nehmen und sogleich mit euch kommen! Michel, lgnaz und Tobias, seid ihr da? - Christus, der Herr, ist geboren, freut euch, der Rose ist eine Blute entsprossen, freut euch. Eia, also freuen wir uns alle miteinander, lasst uns zusammen zur Krippe gehen, lasst uns diesen Geburtstag feiern, auf dem Dudelsack lasst uns spielen! Dem kleinen Jesulein erweisen wir Ehre, Lob und Preis.Die vorliegende Veroffentlichung teilt die Lesart der alten Stimmen mit. Zusatzliche, analoge Bogensetzungen sind durch Strichelungen, originale Angaben zur Dynamik durch Ausschreibung als solche kenntlich gemacht.

SKU: BR.CHB-3145-02

ISBN 9790004403501. 7.5 x 10.5 inches.

Palestrina's Missa Paternoster is one of the masses by this composer that were published neither during his lifetime nor after his death. The work has come down to us in one single manuscript source from the collections of the Cappella Sistina in Rome, a copy transcribed by D. Brancadore in 1618.The mass is written on motifs from the ancient plainchant Pater noster melody from the mass liturgy, which underlays the movements in an admirable multiplicity of melodic forms. New counterpoints are repeatedly intertwined with the themes of the title melody over the course of the mass. Certain idiosyncrasies in the voice-leading and the austere sonorities that recall the late Netherlandish tradition give rise to the hypothesis that this is a relatively early work of Palestrina.Several decades ago, the Missa Paternoster was published by Breitkopf & Hartel in a performance edition prepared by Hermann Bauerle. The present edition is based on the copy of the work printed in the Choirbook 68 (Cappella Sistina) of the Biblioteca Vaticana in Rome. The poor condition of the source made it necessary to compare it with Haberl's Complete Edition as weil, after which two errors have to be corrected. Our edition cannot pretend to offer a definitive reading of the accidentals, since they are difficult to distinguish in the original. The work was transposed, as this seemed more appropriate to present-day choral practice. Finally, the note values were reduced by a half and the closing notes reproduced uniforrnly as longae. Palestrina's Missa ,,Pater noster occupies a distinguished position next to its better known, four-part fellow works. lt deserves this rank thanks to its dignified and broadly sweeping themes, the archaic loftiness of its sound, and the wealth of motivic work contained within it. We sincerely hope that this new edition will stimulate choirs to turn their attention once again to this rarely sung mass by the great Roman master.Rudolf Ewerhart,January 1962, Munster (Westf.).

SKU: FZ.8324

SKU: BR.MR-2239B

ISBN 9790004488478. 9 x 12 inches.

There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.

SKU: M7.VOGG-850

ISBN 9783802408502. German.

Von den Grundlagen bis zum Einstieg in die erste Band - hier lernst du alles, was ein Bassist wissen sollte. Zahlreiche in Tabulatur notierte Übungen machen dir mit der zusätzlichen Rhythmus-Zeile das Üben leicht. Schritt-für-Schritt-Aufnahmen der richtigen Fingerposition zeigen dir außerdem zu jedem Beispiel die richtige Griffweise. Die Übungen und Stücke sind in traditioneller Notation mit Tabulatur notiert, um auch dem Anfänger den sofortigen Einsteig leicht zu machen.Die Akkord- und Tonleiter-Bibliotheken dieses Buches sind für jeden Bassisten zum Nachschlagen nützlich und ein kleiner Einkaufsführer hilft dem Anfänger bei der Suche nach dem richtigen Bass, Verstärker und dem benötigten Zubehör.Alle Original-Arrangements sind in voller Länge auf der CD enthalten - einmal in der Band-Version mit Schlagzeug, Keyboard und Gitarre, und einmal als Backingtrack ohne Bass, zu dem du sofort mitspielen kannst.

SKU: BR.MR-2239A

ISBN 9790004487877. 9 x 12 inches.

There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.