| Keyboard And Organ Works
From Copied Sources:
Polyphonic Works Organ Barenreiter
Johann Jacob Froberger, who lived from 1617 to 1667, developed a style of compos...(+)
Johann Jacob Froberger, who lived from 1617 to 1667, developed a style of composition representing a synthesis of Italian, French and English influences, thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger's organ and keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques. Also, information on performance practice, on instruments of the time and on ornamentation is included, as well as details on Froberger's biography.Volume V.2, like the previously published volume V.1, contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity, new readings and two appendices containing works of doubtful authenticity and spurious arrangements.- Definitive complete Urtext edition- At the cutting edge of scholarship- Detailed explanatory notes / Orgue Ou Piano
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| Intermediate Level Duos
(Flex Ensemble) Ensemble Mixte EMB (Editio Musica Budapest)
Aulos I to a certain degree continues Orbán's easy piano pieces for children, w...(+)
Aulos I to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Ensemble Mixte
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| Great Instrumental Works
Of J. S. Bach (BACH
JOHANN SEBASTIAN) Bass guitar - Intermediate Mel Bay
Transcribed For Solo Electric Bass. Par BACH JOHANN SEBASTIAN. While many electr...(+)
Transcribed For Solo Electric Bass. Par BACH JOHANN SEBASTIAN. While many electric bassists study the Bach cello suites at some point, fewer attempt the sonatas and partitas for un- accompanied violin (BWV 1001-1006). Composed around 1720, the sonatas and partitas display rich polyphonic writing, unlike the simpler monophonic cello suites. This collection features a challenging but rewarding transcription of the complete A minor Violin Sonata (BWV 1002), which fits particularly well on the bass. Also included are the well-known gavotte en rondeau from the E major violin partita (BWV1006) and the complete A minor partita for solo flute (BWV 1013), transposed here to D minor. Finally, an arrangement of the familiar chorale Jesu, Joy of Man's Desiring (from BWV 147) takes advantage of the bass's natural and artificial harmonics. Performance notes are included. Written in notation and tablature for the 4-string electric bass. / Niveau : Intermédiaire / Baroque - Solos / Tablatures / Guitare Basse Tablatures
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| Orgelwerke Set Band I
(BUXTEHUDE DIETERICH) Organ [Sheet music] Breitkopf & Härtel
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the r...(+)
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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| Orgelwerke Band I/1
(BUXTEHUDE DIETERICH) Organ [Sheet music]
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is ...(+)
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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| Sweelinck, Jan
Pieterszoon : Polyphone
Werke (Teil 1) Organ [Sheet music] - Intermediate Barenreiter
The central significance of Jan Pieterszoon Sweelinck (1562?1621) for the evolut...(+)
The central significance of Jan Pieterszoon Sweelinck (1562?1621) for the evolution of baroque ?clavier music? can hardly be overestimated. Yet all the currently available editions of his works stand in need of revision. Our new scholarly-critical performance edition, prepared by the experienced editor Siegbert Rampe , closes this gap. It is the first complete edition of Sweelinck?s keyboard works to distinguish between ?works of secure authenticity? , ?works of uncertain authenticity? and ?works of questionable authenticity?. It is also the first to present alternative readings in synoptic form and to separately reproduce variant versions.
The bilingual edition (German and English) is scheduled to appear in four volumes and incorporates the latest findings of musical scholarship. Each volume contains a critical report, a catalogue of sources, and a de tailed preface covering not only the volume?s scope, layout and editorial technique, but also performance practice, ornamentation and Sweelinck?s biography.
- Definitive complete Urtext edition
- Based on the latest findings of scholarship
- Detailed critical notes in German and English
?All eight volumes include commentaries in German and English and reflect the latest scholarly research. Highly recommended.?
(The American Organist August 2010)
?? Bärenreiter?s offering will provide you with an authoritative treasury of Sweelinck?s work.?
(Church Music Quarterly, 3-2007)
??a must for even serious organ student .?
(The Organ no. 336 ? May?June 2006) / Classique / Partition / Broché /
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| Aulos I (Piano) Piano solo EMB (Editio Musica Budapest)
Aulos to a certain degree continues Orbán's easy piano pieces for children, whi...(+)
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Piano
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| ABEL CARL FRIEDRICH - 3
SONATEN FUR VIOLA DA
GAMBA UND BASSO Viola da Gamba, Basso continuo Guntersberg
in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove ...(+)
in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove of manuscripts made up of thirty for the most part unknown works for viola da gamba in the holdings of the library of Adam Mickiewicz University in Pozna?, Poland. Twenty-eight of the works are by Carl Friedrich Abel - including a number of autographs - and one each by Johann Christian Bach and Andreas Lidl. The manuscripts were copied between 1759 and 1789 in England, and purchased there by the then Prussian envoy in London, Count Joachim Carl Maltzan, who brought them back with him to Militsch, Silesia (today Milicz, Poland). In 1945 the manuscripts came into the possession of the library in Poznan. The collection was discovered in 2016 by Sonia Wronkowska, who is also the editor of the ten-volume edition of all the previously unknown works from this collection.The viola da gamba sonatas by Abel in the Maltzan Collection are musically mature pieces that throw a new light on Abel's compositional artistry. For the most part, they pose greater challenges for the player than the previously known sonatas from Abel's time in London. The fast movements are more expansive; the range extends from AA to b ; there are movements with variations and polyphonic passages; unusual keys, such as A-flat Major and E Major, are to be found; and many a slow movement contains a cadenza from Abel's hand. / Viole de gambe / Guntersberg
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| Choral Anthology 1 Choral SATB Peters
Vytautas Mi?kinis (b.1954) is a composer, choir conductor and educator. His outp...(+)
Vytautas Mi?kinis (b.1954) is a composer, choir conductor and educator. His output encompasses over 400 secular, and around 150 sacred, works- in addition to over 100 folk song arrangements. Mi?kinis was Artistic Director of A?uoliukas youth choir, and music for children constitutes a large part of his work. His music is characterised by polyphonic and melodic material, as well as aleatoric and sonoristic effects. His works have become popular both in Lithuania and abroad. / Choeur Mixte Et Piano
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| Choral Anthology 2
(MISKINIS VYTAUTAS) Choral SATB [Sheet music] Peters
Par MISKINIS VYTAUTAS. Vytautas Miškinis (b.1954) is a composer, choir conducto...(+)
Par MISKINIS VYTAUTAS. Vytautas Miškinis (b.1954) is a composer, choir conductor and educator. His output encompasses over 400 secular and around 150 sacred, works - in addition to over 100 folk song arrangements. His music is characterized by polyphonic and melodic material, as well as aleatoric and sonoristic effects. His works have become popular both in Lithuania and abroad./ Recueil / Choeur Mixte SATB
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| German Requiem Full Score
(BRAHMS JOHANNES) Choral [Sheet music] Dover Publications
Par BRAHMS JOHANNES. This edition of Brahms' greatest, most ambitious vocal work...(+)
Par BRAHMS JOHANNES. This edition of Brahms' greatest, most ambitious vocal work is reprinted from the definitive edition of the composer's works, prepared by Breitkopf & Härtel of Leipzig. Inexpensive but sturdily constructed to provide years of pleasurable use, this full score combines all the musical parts in a clear, readable format, with wide margins, large noteheads, and many other helpful features. Brahms conducted the first major performance of the German Requiem in Bremen Cathedral in April 1868. The occasion — attended by many distinguished musicians, among them Clara Schumann — provided the 34-year-old composer with his first great public success. Scored for mixed chorus, solo voices, and full orchestra, the Requiem reflects Brahms' virtuosic grasp of nineteenth-century vocal technique as well as the polyphonic vocal traditions of the previous three centuries. Above all, it radiates Brahms' stalwart individuality, technical mastery, and stirring emotional appeal, which were soon to secure his unique position in the musical world. More than a century after its debut, this masterpiece of choral music is one of the most performed and recorded works in the repertoire of religious music. Reprinted in full score, including solo voices, chorus and orchestra, from definitive Breitkopf & Härtel edition. A reproduction of the Breitkopf and Hartel edition. / Musique religieuse / Répertoire / Choeur
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| String Quartet - Youthful
Work (BACEWICZ GRAZYNA) String Quartet: 2 violins, viola,
cello PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her mai...(+)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms.
One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work.
The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo.
The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
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| Charm Me Asleep Choral SATB Schott
Charm me Asleep is a gentle, lilting piece with a beautiful melody and homophoni...(+)
Charm me Asleep is a gentle, lilting piece with a beautiful melody and homophonic texture. This is one of a pair of works, along with Slow, Slow, Fresh Fount, written by Watkins for the Cardiff Polyphonic Choir on the occasion of its 50th anniversary- performed together or separately, they are excellent additions to the repertoire. / Choeur Mixte (SATB)
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| Charbonnier (LADMIRAULT
PAUL) 4 Voix Mixtes [Sheet music] Heugel
Par LADMIRAULT PAUL. Le Charbonnier is a song for SATB a cappella by Paul Ladmir...(+)
Par LADMIRAULT PAUL. Le Charbonnier is a song for SATB a cappella by Paul Ladmirault. The song was written with a main theme, two variations and a coda, and features a total of 5 verses. The lyrics remind us of a time when coal sellers came to town to sell merchandise. To be sung a cappella, all in andantino, this song is very lyrical and has some polyphonic aspects and some merismas. Each verse contains different lyrics, all revolving around the coal seller and his life: - Verse 1: this verse settles the action, with the seller trying to sell coal in the city - Verse 2: the seller is asked how much is the cost of a poundof coal - Verse 3: he is asked where his wife is - Verse 4: the beauty of his wife is highlighted - Verse 5: the seller explains why his shirt is so black Paul Ladmirault (1877-1944) was a French composer. He composed numerous pieces including: operas, ballets, orchestral works, chamber music and vocal music./ Répertoire / 4 Voix Mixtes
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| BACH J.S. - DREI SONATEN
UND DREI PARTITEN FUR
VIOLINE SOLO BWV
1001-1006 - VIOLON Violin Barenreiter
Without any doubt J.S. Bach?s cycle of the three Sonatas and Partitas BWV 1001-1...(+)
Without any doubt J.S. Bach?s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was ?nothing more accomplished in order to become a good violinist? than his father?s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach?s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument the violin. The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach?s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries. The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources. Sonata 1 g-Moll, BWV 1001 Partita 1 h-Moll, BWV 1002 Sonata 2 a-Moll, BWV 1003 Partita 2 d-Moll, BWV 1004 Sonata 3 C-Dur, BWV 1005 Partita 3 E-dur, BWV 1006 / Partitions classique / Cordes / Violon / BARENREITER
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| 5 French Madrigals Choral SATB SATB A Cappella Hal Leonard
Orlando di Lasso was a Franco-Flemish composer of the late Renaissance known for...(+)
Orlando di Lasso was a Franco-Flemish composer of the late Renaissance known for his mature polyphonic style. Equally adept in many languages and both sacred and secular forms, his compositions remain a staple of the modern choral repertoire. This collection of French chansons includes five representative works and is an excellent value! Includes: Bonjour mon Coeur, Dessus le marche, Paisible domaine, Toutes le nuits, Vignon vignette. / Choeur Mixte (SATB) A Cappella
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| Sonata Piano solo Schott
The Sonata is one of Erkin's works which the casual listener may fail to attribu...(+)
The Sonata is one of Erkin's works which the casual listener may fail to attribute to a particular geography at a first hearing. He will however become absorbed by a unique sense of identity, surprising harmonies and rhythms which integrate with such sincerity and authenticity in the flow of the music. At a more attentive hearing, one can discover features of ancient Anatolian music which Erkin always transforms with extraordinary inspiration, enfolding audiences unfamiliar with this culture in a music which is often profoundly spiritual with an admirably woven polyphonic texture in which not one bar seems superfluous or out of place. The first movement Allegro is woven from two contrasting themes. The first is a vigorous progression in the middle register with contrapuntal elements quasi as counterpoint. A luminous second theme evoking folk tunes connects back to the first theme and the movement ends in a brisk tone. In the second movement Adagio molto sostenuto a profound, introspective first theme is developed in variations of exquisite lyricism. The imposing middle section which forms a rondo suggests latent unrest. Imbued with energy and determination, the final Allegro consists of abstracted elements of Anatolian folk music bearing the creative stamp of Erkin. The movement ends with an impressive crescendo. / Piano
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| German Requiem Op. 45
(BRAHMS JOHANNES) Partition de Poche [Sheet music] Dover Publications
Par BRAHMS JOHANNES. Scored for mixed chorus, two solo voices and full orchestra...(+)
Par BRAHMS JOHANNES. Scored for mixed chorus, two solo voices and full orchestra, this masterpiece of choral music is Brahms’ greatest, most ambitious vocal work. It reflects his virtuosic grasp of 19th-century vocal technique as well as the polyphonic vocal traditions of the previous three centuries. One of the most performed and recorded works in the repertoire of religious music, A German Requiem appears here in full score with bar-numbered movements. / Musique religieuse / Répertoire / Partition de Poche
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| Three Sonatas and Three
Partitas for Solo Violin
BWV 1001-1006 (BACH
JOHANN SEBASTIAN) Violin [Sheet music] Barenreiter
Par BACH JOHANN SEBASTIAN. Without any doubt J.S. Bach’s cycle of the three So...(+)
Par BACH JOHANN SEBASTIAN. Without any doubt J.S. Bach’s cycle of the three Sonatas and Partitas BWV 1001-1006 represents one of the pinnacles of classical European music. According to C.P.E. Bach a contemporary voice stated that there was „nothing more accomplished in order to become a good violinist“ than his father’s works. The cycle reflects the entire harmonic and polyphonic musical universe of Bach’s time, so masterfully composed that it can be rendered within the limited framework of but a single instrument – the violin.
The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition – Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach’s unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries.
The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources./ Répertoire / Violon
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| Drei Chöre ? Op. 6
(REGER MAX) Choral SATB SATB, Piano Carus Verlag
Par REGER MAX. Die Drei Chören (The Three Choirs) op. 6 are hardly mentioned in...(+)
Par REGER MAX. Die Drei Chören (The Three Choirs) op. 6 are hardly mentioned in the young Reger's correspondence. The only meaningful reference is Reger's announcement to his London publisher George Augener on August 1, 1892: 'I will send the choruses op. 6 ? which your son liked very much ? to you tomorrow morning [...]'. George Augener had spent five weeks from undergoing treatment in Wiesbaden and had met on this occasion not only Hugo Riemann but also his 'favorite pupil' Reger. After the publication, the Allgemeine Musik-Zeitung remarked on the 'entirely Brahmsian character to the work'. It praised its polyphonic structure and its'romantic chiaroscuro [...], the effect of which the accompanying piano knows how to exalt excellently'. The work was nevertheless to remain Reger's only composition for this instrumentation.Separate edition from Volume 11, 'Lieder und Chorwerke' of the Max Reger Hybrid Edition of Works. / Date parution : 2023-06-01/ Répertoire / SATB et Piano
10.20 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The New Sonatina Book,
Vol. 1 Piano solo Schott
Le nouveau recueil de sonatines Vol. 1. Keep the old, but be generous with new. ...(+)
Le nouveau recueil de sonatines Vol. 1. Keep the old, but be generous with new. Fundamentally the editor of the New Sonatina Book has followed this principle. Therefore in the book are found sonatas for children which are almost 'classical', as well as other works which have long been used successfully in teaching the piano but which are not found in previous collections such as, for example, the Vienna Sonatinas of Mozart which acquired fame so quickly in the new Schott edition, the charming Spring Sonatina by Handrock, some melodious compositions of Theodor Kirchner, and as a contemporary work Gretchaninoff's Sonatina which has proved itself as a splendid display pieces for pupils' concerts.
The collection is as far as possible arranged in order of difficulty, but as frequently different movements of a work demand different levels of technique, a completely logical sequence was not possible, particularly as the individual talent of the pupil plays an important part. In order to acquaint pupils with polyphonic music some easy pieces by Handel, Telemann, Krebs and Max Reger (Canons) have been included. / Répertoire d'Examen / Recueil / Piano
21.19 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| New Edition Of The
Complete Works, Volumes I
-VII Organ, Voice [Sheet music] - Intermediate/advanced Barenreiter 718.20 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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