Motetto Pro Nativitate I. Par ZELENKA JAN DISMAS. Tonalité : E-Dur - Kohlhase, Thomas / Horn, Paul (Arr.) - ZWV 171 / Mottet / Répertoire / Solo A, 2 Flûtes Traversières (2 Flûtes à Bec), 2

Motetto Pro Nativitate I. Par ZELENKA JAN DISMAS. Tonalité : E-Dur - Kohlhase, Thomas / Horn, Paul (Arr.) - ZWV 171 / Mottet / Répertoire / Solo A, 2 Flûtes Traversières (2 Flûtes à Bec), 2

Motetto Pro Nativitate I. Par ZELENKA JAN DISMAS. Tonalité : E-Dur - Kohlhase, Thomas / Horn, Paul (Arr.) - ZWV 171 / Mottet / Répertoire / Solo A, 2 Flûtes Traversières (2 Flûtes à Bec), 2

Jean-Baptiste Bréval
Sonate en Ut majeur op. 40 n° 1 pour violoncelle et basse (piano)
Tabea Umbreit (Editeur)
Thomas Klein (Doigtés violoncelle)
Wolfgang Kostujak (Réalisation de la basse continue)
Edition Urtext, reliure paperback
édition comportant une partition de piano, une partition sans indications (vc/basse) et une partie avec indications (vc)
À la fin du XVIIIe siècle , le violoncelliste et compositeur Jean-Baptiste Bréval n’a pas seulement créé des concertos virtuoses pour son instrument, mais aussi des sonates plus faciles ainsi que des duos qui, de nos jours, font toujours partie du noyau dur du répertoire pédagogique du violoncelle. La Sonate en Ut majeur op. 40 n° 1, qui s’ouvre sur des accords très prenants, offre déjà aux violoncellistes débutants la possibilité de se laisser emporter dans de superbes mélodies, et de maîtriser de petits changements de position.
La première édition parue à Paris en 1799 n’est pas très précise concernant le choix de l’instrument d’accompagnement. C’est pourquoi plusieurs alternatives sont proposées dans cette édition Urtext: une partition à deux parties, permettant à un second violoncelle, pendant le cours, d’accompagner commodément, de même qu’un discret soutien pour piano, pouvant être utilisé lors d’auditions. Ce ticket d’entrée dans le répertoire de violoncelle est en outre parachevé par une partie de soliste discrètement annotée. / Partitions classique / Cordes / Violoncelle / HENLE VERLAG

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Laboravi In Gemitu Meo by the Renaissance English composer and one of the principle members of the Madrigal School. This work expertly edited by Lionel Pike is arranged for unaccompanied SSAATB Chorus and lasts around 5 minutes. The text for Laboravi In Gemitu Meo comes from Psalm vi 6: 'I am weary of my groaning every night wash I my bed: and water my couch with my tears.' Composer Thomas Morley was the most famous composer of Secular music in Elizabethan England and was a contemporary of William Shakespeare. His use of the tritone interval in this work results in a sense ofunease something that resonates with the context of the piece: it was composed in retribution for informing on his fellow Catholics. 

Sonata II (g). Par BYSTROM THOMAS. Sonata Ii (G)/ Répertoire / Clavecin ou Piano et Violon

Sonata III (Es). Par BYSTROM THOMAS. Sonata Iii (Es)/ Répertoire / Clavecin ou Piano et Violon

Motetto Pro Nativitate Ii. Par ZELENKA JAN DISMAS. Tonalité : C-Dur - Kohlhase, Thomas (Arr. ) - ZWV 172 / Mottet / Répertoire / Solo T, 2 Flûtes à Bec, 2 Flûtes Traversières, 2 V

Motetto Pro Nativitate Ii. Par ZELENKA JAN DISMAS. Tonalité : C-Dur - Kohlhase, Thomas (Arr. ) - ZWV 172 / Mottet / Répertoire / Solo T, 2 Flûtes à Bec, 2 Flûtes Traversières, 2 V

Motetto Pro Nativitate Ii. Par ZELENKA JAN DISMAS. Tonalité : C-Dur - Kohlhase, Thomas (Arr. ) - ZWV 172 / Mottet / Répertoire / Solo T, 2 Flûtes à Bec, 2 Flûtes Traversières, 2 V

Motetto Pro Nativitate Ii. Par ZELENKA JAN DISMAS. Tonalité : C-Dur - Kohlhase, Thomas (Arr. ) - ZWV 172 / Mottet / Répertoire / Solo T, 2 Flûtes à Bec, 2 Flûtes Traversières, 2 V

[Einzeln überlieferte Klavierwerke - Band 3] / Classique / Editeurs : Hartwig Eichberg ; Thomas Kohlhase / Partition / Agrafé / Edition Urtext