SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102649

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig Pod. Sacred vocal music, End of the church year, Mourning, death. Single Part, Organ. Composed 1724. BWV 26. 12 pages. Duration 17 minutes. Carus Verlag #CV 31.026/49. Published by Carus Verlag (CA.3102649).

ISBN 9790007205300. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and part available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102609

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. 1x 31.026/21 flute, 1x 31.026/22 oboe 1, 1x 31.026/23 oboe 2, 1x 31.026/24 oboe 3, 1x 31.026/31 horn. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig 5. Sacred vocal music, End of the church year, Mourning, death. Set of Orchestra Parts. Composed 1724. BWV 26. 26 pages. Duration 17 minutes. Carus Verlag #CV 31.026/09. Published by Carus Verlag (CA.3102609).

ISBN 9790007205256. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and parts available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102619

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Set of Orchestra Parts. Composed 1724. BWV 26. Duration 17 minutes. Carus Verlag #CV 31.026/19. Published by Carus Verlag (CA.3102619).

ISBN 9790007136048. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and parts available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102611

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Single Part, Violin 1. Composed 1724. BWV 26. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.026/11. Published by Carus Verlag (CA.3102611).

ISBN 9790007205263. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and part available separately - see item CA.3102600.

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102612

Cantata for 24th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Till Reininghaus. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Ach wie fluchtig, ach wie nichtig. Sacred vocal music, End of the church year, Mourning, death. Single Part, Violin 2. Composed 1724. BWV 26. 4 pages. Duration 17 minutes. Carus Verlag #CV 31.026/12. Published by Carus Verlag (CA.3102612).

ISBN 9790007205270. Language: German/English.

Bach's cantata BWV 26 belongs to the Leipzig cycle of chorale cantatas, 1724/25, and it was first performed on 19 November 1724. The underlying 13-vers hymn by Michael Franck provided Bach and his unidentified librettist with an abundance of metaphors and comparisons which, from verse to verse and movement to movement, illustrate the fleeting and transitory nature of earthly life: an impressive musical-poetic exposition of potent baroque pictures of vanity.. Score and part available separately - see item CA.3102600.

Piano - Grade 7-8

SKU: ST.C463

Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463).

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

SKU: BR.SON-422

Complete Works. Composed by Felix Bartholdy Mendelssohn. Edited by Salome Reiser. Linen. Complete Works. Romantic period. Complete Works. 188 pages. Breitkopf and Haertel #SON 422. Published by Breitkopf and Haertel (BR.SON-422).

ISBN 9790004802670. 9 x 12 inches.

The music world has long been familiar with Mendelssohn's celebrated, standard-setting Piano Trio in D minor op. 49. No one, however, knew how many stages this masterpiece went through before it was finally published in 1840. According to preliminary sketches that can no longer be reconstructed, the early version of the of the work in its traditional piano-trio scoring was written in spring 1839. It was given its first performance at the Mendelssohn home in Berlin and remained unpublished. The following year, Mendelssohn brought out a version of the work with flute instead of violin at the request of an English publisher. He had already strongly reworked the original version for the publication. Another revision was made of the flute version, which not only took into account the different technical possibilities of a wind instrument, but also affected the compositional substance of the work. Thus Mendelssohn very nearly did write his D minor Piano Trio three times!

Complete in One Volume. By Henry Purcell. Voice and piano. Published by International Music Co.

By Various. Edited by David Fanning. For tenor voice, pf. Published by C.F. Peters.

Orchestra

SKU: HL.14023201

Composed by Erik Norby. Music Sales America. Classical. Score. Composed 2002. 48 pages. Edition Wilhelm Hansen #WH29353. Published by Edition Wilhelm Hansen (HL.14023201).

ISBN 9788759860250. International (more than one language).

Orchestration: 3(pic)(2afl).+ pic.3+ca.3+bcl.3+cbn/6.4.4.1/timp.perc/hp/pf/str THE RAINBOW SNAKE is an Indian legend about how the rainbow came into being. It is said that a snake heard the Indians grieving over a very long drought and the unfruitfulness of the land, so it wound itself into a ball and wasthrown high into the air. It unwound itself again and grew longer and longer until b And since then - every time it rains while the sun is shining - the snake has stretched its supple body across the sky.

Orchestra (Study Score)

SKU: HL.51489064

Study Score. Composed by Franz Joseph Haydn. Edited by Gernot Gruber. Henle Music Folios. Classical. Softcover. G. Henle #HN9064. Published by G. Henle (HL.51489064).

UPC: 840126937640. 6.75x9.5x0.214 inches.

The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Vocal Ensemble Piano Accompaniment; Vocal (High Voice)

SKU: HL.51480551

Song Cycle Original Keys for High Voice. Composed by Robert Schumann. Edited by Kazuko Ozawa. Sheet Music. Paperbound. Henle Music Folios. Original Keys for High Voice. Classical. Softcover. 80 pages. G. Henle #HN551. Published by G. Henle (HL.51480551).

ISBN 9790201805511. UPC: 888680950781. 8.25x11.75x0.295 inches.

1840 was Schumann's famous “year of song” that brought forth over 100 lieder. They included Myrthen op. 25, which he dedicated “to his dear bride,” Clara Wieck-Schumann. Besides famous songs such as “Widmung,” “Lotosblume” and “Nussbaum” to texts by German poets, the collection also saw Schumann venture further afield, whether to the Scottish Highlands with settings of Robert Burns or to Italy for the “Venetian Songs” of Thomas Moore. Schumann specialist Kazuko Ozawa has examined the first edition of 1840 and all the manuscript sources. Among the dedicatory autograph copies she has also discovered interesting early versions of individual songs that are here published in an appendix. Our Urtext edition is rounded off with an extensive history of how Myrthen was composed. This volume is a superlative addition to G. Henle Verlag’s series of Robert Schumann's song cycles.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Composed by Gabriel Faure (1845-1924). Edited by Fabian Kolb. Henle Music Folios. Softcover. G. Henle #HN1358. Published by G. Henle