SKU: KN.17236

UPC: 822795172362.

Finally, a grade 3-4 trumpet quartet collection that has interesting and fun parts for all players! All works are suitable for recitals, concerts, and contest. Ten works spanning the Renaissance through ragtime are included.

Contents:
March Pontificale (Gounod); Sing We And Chant It (Morley); The Fiddler (Brahms); Fantasy On Scarborough Fair (traditional); Spinning Song (Ellmenreich); Now Is The Month Of Maying (Morley); Sonatina (Clementi); Te Deum (Charpentier); Can Can (Offenbach); Rag (Jarvis).

SKU: KN.17235

UPC: 822795172355.

Finally, a grade 3-4 trumpet quartet collection that has interesting and fun parts for all players! All works are suitable for recitals, concerts, and contest. Ten works spanning the Renaissance through ragtime are included.

Contents:
March Pontificale (Gounod); Sing We And Chant It (Morley); The Fiddler (Brahms); Fantasy On Scarborough Fair (traditional); Spinning Song (Ellmenreich); Now Is The Month Of Maying (Morley); Sonatina (Clementi); Te Deum (Charpentier); Can Can (Offenbach); Rag (Jarvis).

SKU: KN.19184

UPC: 822795191844.

This grade 3-5 anthology offers brass quintets a treasure trove of classical repertoire. A complete concert program can be found in this convenient volume and will be a valuable resource for practically any type of performance.

Contents:
Ases Tod (Grieg), Three Renaissance Dances (Gervaise), Largo From The New World Symphony (Dvorak), Three EnglishaEUR^Madrigals (Traditional), The Thunderer (Sousa), The Entertainer (Joplin), March Militaire (Schubert), Fanfare For Brass Quintet (Ziek), Badinerie (Bach), Hungarian Dance No. 5 (Brahms).

SKU: KN.19183

UPC: 822795191837.

This grade 3-5 anthology offers brass quintets a treasure trove of classical repertoire. A complete concert program can be found in this convenient volume and will be a valuable resource for practically any type of performance.

Contents:
Ases Tod (Grieg), Three Renaissance Dances (Gervaise), Largo From The New World Symphony (Dvorak), Three EnglishaEUR^Madrigals (Traditional), The Thunderer (Sousa), The Entertainer (Joplin), March Militaire (Schubert), Fanfare For Brass Quintet (Ziek), Badinerie (Bach), Hungarian Dance No. 5 (Brahms).

SKU: BU.EBR-A053

ISBN 9790560151250. 8.58 x 12.48 inches.

La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.

Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.

Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.



La mélodie originale de « A vous dirai-je maman » n'est pas composé par le célèbre Mozart. La première publication de cette comptine date de 1761 dans les « amusements d'une Heure et Demy » par Mr Bouin. Le thème musical est aussi associé à une des plus populaires chansons enfantines anglaises intitulée « Twinkle, twinkle, star » (brille, brille, petite étoile).
Cette version française devait être familière à Mozart pour qu'il compose à l'âge de 22 ans, douze variations d'après cette comptine. Etant donné le tempérament ambitieux et sévère de son père, il est probable que Mozart est choisi la mélodie de cette comptine pour le taquiner. D'une nature bonne enfant, celui ci appréciait les plaisanteries et les jeux de mots intelligents.
Ces délicieuses variations rafraîchissent par une frivolité pianistique. Fermez les yeux, Mozart nous a préparé un voyage initiatique à travers le monde merveilleux de l'enfance.

SKU: CF.CM9589

ISBN 9781491154113. UPC: 680160912612. 6.875 x 10.5 inches. Key: C major. English, Latin. English Carol.

The Boars Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level mens chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queens hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boaras Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level menas chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text alaudes Dominoa building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1:A Quot estis in convivioA A A A A As you all feast so heartily Verse 2:A Let us servire cantico.A A A A A Let us serve with a song. Verse 3:A In Reginensi atrio.A A A A A A A A A In the Queenas hall. Chorus: Caput apri deferoA A A A A A A A A A Lo, behold the head I bring Reddens laudes DominoA A A Giving praise to God we sing.  .
The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boar’s Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men’s chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide.The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text “laudes Domino” building up to the final verse with a slower, broader tempo as marked.Latin text translation:Verse 1:  Quot estis in convivio          As you all feast so heartilyVerse 2: Let us servire cantico.          Let us serve with a song.Verse 3: In Reginensi atrio.                 In the Queen’s hall.Chorus: Caput apri defero                   Lo, behold the head I bringReddens laudes Domino     Giving praise to God we sing. .

SKU: BR.EOS-8063-26

ISBN 9790004789810. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christopher Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

SKU: BR.EB-8042

World premiere Dusseldorf, September 26, 1978

ISBN 9790004174418. 9 x 12 inches.

Diese weitausgesponnene, vielteilige Fantasie folgt den Spuren eines der eigenwilligsten Spatrenaissancemeister, der durch ungewohnliche chromatische Fortschreitungen und kuhne Harmonik den Stil und den Ausdruck jener Zeit zu Ende gepragt hat. Die sieben Stationen in dieser Komposition sind charakteristische Zitate aus Madrigalen Don Carlo Gesualos, des Principe de Venosa (um 1560 - 1613). Aus den vertonbaren Buchstaben seines Namens (g-e-es-a-d) entsteht eine pragnante Intervallfolge, die als Leitmotiv in. variierter Gestalt haufig wiederkehrt. Das letzte Zitat ist identisch mit dem ersten; so schliesst sich die Folge der Stationen zu einem Ring. Der Text des Kernzitats lautet: Moro lasso al mio duolo (Ich sterbe, ach an meiner Qual), Die sieben Stationen gliedern als formale und inhaltliche Schwer- und Ruhepunkte den Verlauf des gesamten Stucks; der Beginn eines jeden neuen Zitats wird durch eine vorangehende Pause oder eine Klangfermate verdeutlicht. Dagegen bilden die sechs Intermezzi (die eigentlichen Meditationen) in ihrem verschiedenartigen Bewegungsablauf wirksame Kontrastflachen, die sich entweder aus den ruhigen Stationen unmerklich entwickeln (z. B.: A, B und E) oder in schroffem Gegensatz zu dem vorhergehenden oder nachfolgenden Abschnitt stehen. Eine Introduzione (Entwicklung des Leitmotivs) und eine Reduzione umrahmen das Werk. Anstelle eines Ausklangs im Pianissimo kann der Interpret eine jah auffahrende Schlusswendung im Fortissimo wahlen. Alte und neue Ausdrucksmittel sollen in dieser Meditation als These und Antithese gegenubergestellt und zur Synthese gefuhrt werden. (Jurg Baur) CD: Martin Herchenroder CD Koch 3-1846-3 H1 Bibliography : Abels , Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489. Richter , Reinhold: Zwischen Tradition und Avantgarde zwischen Zweifel und Hoffnung. Einige Notizen zur Chor- und Orgelmusik von Jurg Baur anlasslich des 85. Geburtstages im vergangenen November, in: Forum Kirchenmusik 54 (2003), Heft 6, pp. 23-31. Voigt , Michael: Man steht in einer Tradition, die man fortsetzt: Zum Orgelwerk von Jurg Baur, in: Forum Kirchenmusik 61 (2010), Heft 3, p. 35.

World premiere: Dusseldorf, September 26, 1978.

SKU: MB.WBM58M

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

SKU: BR.ED-12602

ISBN 9790220119279. 7.5 x 11 inches.

Monteverdi's Vespers of 1610 is a work which has both fascinated and perplexed musicologists and performers for many years. It forms by far the larger part of the composer's first significant publication of sacred music, entitled: Of the most blessed virgin a Mass for six voices for church choirs, and Vespers for more voices with several sacred concertos suitable for princely chapels or apartments. By the time this publication appeared, Monteverdi had been in the service of the Gonzaga court at MantUrauffuhrung for at least 18 years, and he was seeking a change of employment, so that the dedication of the volume to the reigning pope, Paul V, may be interpreted as a form of self-advertisement. Originally issued as an Urtext study score, the edition is based closely on the extant printed source, the set of partbooks published at Venice in 1610, and retains the original note values, key and mensuration signatures.