| Works for Violin and Piano (1): Sonatas for Violin and Piano Violin and Piano Barenreiter
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille Saint-
Saens (1835-1921). Edited by
Fabien Guilloux and François
de Médicis. This edition:
Edition of selected works,
Urtext edition. Linen. Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of selected
works, Performance score,
anthology. Baerenreiter Verlag
#BA10304-01. Published by
Baerenreiter Verlag
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| Sonates pour violon et basse continue. Opus V Violin, Basso continuo Anne Fuzeau Productions
(Rome, 1700). By Arcangelo Corelli (1653-1713). Edited by Nicolas Fromageot. Vio...(+)
(Rome, 1700). By Arcangelo Corelli (1653-1713). Edited by Nicolas Fromageot. Violon et basse continue. For Violin. Facsimiles. Collection Dominantes. Grade 0. 228 pages
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| George Frideric Handel: Three Trio Sonatas Flute, Violin, Keyboard (basso continuo) [Score and Parts] Barenreiter
Sonatas op.5: HWV 397 D major, 398 e minor, 401 f major. By George Frideric Hand...(+)
Sonatas op.5: HWV 397 D major, 398 e minor, 401 f major. By George Frideric Handel. Edited by Siegfried Flesch. For Violin (2)/ Flute, Basso continuo. Playing Score; Set of Parts; Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import).
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| 6 Sonatas Op. 5 (H. 109-114) for Violin and Basso Continuo - Vol. 1: Sonatas I-III Violin, Basso continuo [Score and Parts] Ut Orpheus
Composed by Francesco Geminiani (1687-1762). Edited by Christopher Hogwood. Fran...(+)
Composed by Francesco Geminiani (1687-1762). Edited by Christopher Hogwood. Francesco Geminiani Opera Omnia. Early Music. Score and Parts. 76 pages. Published by Ut Orpheus (UT.PEG-03).
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| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-15 ...(+)
Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-15 Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-15. Published by Breitkopf and Haertel (BR.OB-3210-15). ISBN 9790004300695. 10 x 12.5 inches. Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-16 ...(+)
Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-16 Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). EB 6043 is printed in score form; two copies are needed for performance. Have a look into study score PB 3654. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-16. Published by Breitkopf and Haertel (BR.OB-3210-16). ISBN 9790004300701. 10 x 12.5 inches. Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Masterpieces of Piano Music
Piano solo [Sheet music] Carl Fischer
By Various. Arranged by Albert E. Weir. Piano. Size 8.5 X 11. Published by Carl ...(+)
By Various. Arranged by Albert E. Weir. Piano. Size 8.5 X 11. Published by Carl Fischer.
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| Leonore Op. 72 Breitkopf & Härtel
Violin 1 (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-5142-15 Overture ...(+)
Violin 1 (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-5142-15 Overture No. 2 to the Opera. Composed by Ludwig van Beethoven. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Overture; Classical. Part. 10 pages. Duration 13'. Breitkopf and Haertel #OB 5142-15. Published by Breitkopf and Haertel (BR.OB-5142-15). ISBN 9790004329511. 10 x 12.5 inches. Despite the numbering, the overture Leonore No. 2 was Beethoven's first effort to precede his only opera with an adequate introduction. It had been composed last minute and in between the rehearsals for the premiere of the opera Leonore oder Der Triumph der ehelichen Liebe (Leonore, or The Triumph of Marital Love) on 20 November 1805 at the Theater an der Wien. This comprehensive, programmatic work was met with incomprehension at first performances just like the opera itself. Beethoven felt compelled to re-write Leonore completely and presented it under its new title Fidelio. In 1806 he revised the overture to such an extent that a symphonic sonata movement emerged; with another incorrect numbering, Leonore No. 3 has gone down in music history and above all it has achieved a regular place in concert repertory. And in order to complete the confusion: written in 1806/07, only Overture No. 1 is Beethoven's chronologically last effort to write an overture for Leonore, before he - many years later - put an end to this infinite subject with the so-called Fidelio overture for the third version of the opera. After all, thanks to the search after a dramaturgically convincing beginning of the opera, the music world has been enriched by four quite different orchestra scores.The music text of the present score is based on Volume 11 of the Supplements to the Complete Edition. The performance material of the Fidelio and Leonore No. 3 overtures is available in Breitkopf Urtext editions.. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Leonore Op. 72 Breitkopf & Härtel
Violin 2 (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-5142-16 Overture ...(+)
Violin 2 (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-5142-16 Overture No. 2 to the Opera. Composed by Ludwig van Beethoven. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Overture; Classical. Part. 12 pages. Duration 13'. Breitkopf and Haertel #OB 5142-16. Published by Breitkopf and Haertel (BR.OB-5142-16). ISBN 9790004329528. 10 x 12.5 inches. Despite the numbering, the overture Leonore No. 2 was Beethoven's first effort to precede his only opera with an adequate introduction. It had been composed last minute and in between the rehearsals for the premiere of the opera Leonore oder Der Triumph der ehelichen Liebe (Leonore, or The Triumph of Marital Love) on 20 November 1805 at the Theater an der Wien. This comprehensive, programmatic work was met with incomprehension at first performances just like the opera itself. Beethoven felt compelled to re-write Leonore completely and presented it under its new title Fidelio. In 1806 he revised the overture to such an extent that a symphonic sonata movement emerged; with another incorrect numbering, Leonore No. 3 has gone down in music history and above all it has achieved a regular place in concert repertory. And in order to complete the confusion: written in 1806/07, only Overture No. 1 is Beethoven's chronologically last effort to write an overture for Leonore, before he - many years later - put an end to this infinite subject with the so-called Fidelio overture for the third version of the opera. After all, thanks to the search after a dramaturgically convincing beginning of the opera, the music world has been enriched by four quite different orchestra scores.The music text of the present score is based on Volume 11 of the Supplements to the Complete Edition. The performance material of the Fidelio and Leonore No. 3 overtures is available in Breitkopf Urtext editions.. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| Seven Sonatas for 2 Violins and Basso continuo, op. 5, HWV 396-402 2 Violins and Basso Barenreiter
2 violins and basso continuo SKU: BA.BA04026-40 Composed by George Frider...(+)
2 violins and basso continuo SKU: BA.BA04026-40 Composed by George Frideric Handel. Edited by Siegfried Flesch. This edition: Complete edition. Paperback. Halle Handel Edition (HHA) Series IV, Volume 10, No. 2. Urtext Language: German. Complete edition, Critical commentary, anthology. Opus 5, HWV 396-402. 73 pages. Duration 3 hours. Baerenreiter Verlag #BA04026_40. Published by Baerenreiter Verlag (BA.BA04026-40). ISBN 9790006443253. 24 x 17 cm inches. $36.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violin Sonatas
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Sonate Für Violine Und Klavier Op. 12/1
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Sonate Für Violine Und Klavier Op. 12/2
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Sonate Für Violine Und Klavier Op. 12/3
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Sonate Für Violine Und Klavier Op. 23
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Sonate Für Violine Und Klavier Op. 24
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| Sonata for horn and harp Op. 3 - Advanced Kunzelmann
Horn (or violin), harp - Level 5 SKU: KU.GM-1962 Composed by Louis FranÃ...(+)
Horn (or violin), harp - Level 5 SKU: KU.GM-1962 Composed by Louis François Dauprat. Edited by Simon Scheiwiller. Bach format (230 x 302). Staple Bound. Piano score, part. Op. 3. 35 pages. Duration 15 minutes. Edition Kunzelmann #GM-1962. Published by Edition Kunzelmann (KU.GM-1962). ISBN 9790206208423. 230x303 inches. Key: F major. The Paris horn player Louis Francois Dauprat was professor at the Conservatoire de Paris, thus having a great influence on the French school of horn playing. He wrote his compositions mostly for didactic purposes for his students. Simon Scheiwiller has revised the sonata for horn and harp op. 3 for the present edition. $21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chamber Music for Violoncellos Volume 16 String Trio: 3 cellos EMB (Editio Musica Budapest)
(for 3 Cellos - Score and Parts). Composed by Various. Edited by Ã?ÂrpÃ?Â...(+)
(for 3 Cellos - Score and Parts). Composed by Various. Edited by Ã?ÂrpÃ?¡d Pejtsik. For Cello Trio (Score and Parts). EMB. Softcover. Editio Musica Budapest #Z14930. Published by Editio Musica Budapest
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| Geminiani Studies Ut Orpheus
Books and Journals SKU: UT.APS-6 Edited by Christopher Hogwood. Paperback...(+)
Books and Journals SKU: UT.APS-6 Edited by Christopher Hogwood. Paperback (Soft Cover). Ad Parnassum Studies. Essays by Gregory Barnett, Barra Boydell, Enrico Careri, Cheryll Duncan, Christopher Hogwood, Peter Holman, Clare Hornsby, Mark Kroll, Sandra Mangsen, Andrew Pink, Rudolf Rasch, Robin Stowell, Michael Talbot, Wiebke Thormahlen, Peter Walls, Neal Zaslaw. Classical. Books and Journals. 524 pages. Ut Orpheus #APS 6. Published by Ut Orpheus (UT.APS-6). ISBN 9788881094790. 6.5 x 9.5 inches. Essays by Gregory Barnett, Barra Boydell, Enrico Careri, Cheryll Duncan, Christopher Hogwood, Peter Holman, Clare Hornsby, Mark Kroll, Sandra Mangsen, Andrew Pink, Rudolf Rasch, Robin Stowell, Michael Talbot, Wiebke Thormahlen, Peter Walls, Neal Zaslaw
Sixteen essays by international scholars celebrate the 250th anniversary of Francesco Geminiani (1687-1762), star pupil of Corelli and composer, performer and teacher in Paris, London and Dublin, who for many years was ranked as the equal of Handel. His compositions moved far beyond Corelli's model (to include theatre music, sonatas for cello and keyboard works) and later in his life he supported his aesthetic style with treatises on violin and guitar playing, good taste, accompaniment and composition. He published all his output in the most elegant style via engravers and music sellers in Paris, Amsterdam and London, and constantly revised and rewrote earlier works in new and often expanded formats. This legacy is analysed and placed in context within the various national styles current in Europe, and the enormous influence of his treatise The Art of Playing on the Violin is positioned in a continuum which extends to Ivan Galamian. Outside music these studies examine the effect of Freemasonry on Geminiani's career, and his frequent recourse to law to defend his rights. On his own admission, Geminiani preferred dealing in fine art to playing the violin -- a claim always derided by earlier writers, but in fact easily defended by newly available evidence of his highly successful sales. The reception of Geminiani's music is also re-assessed and his apparent decline in public favour is explained; many new sources contradict the accepted and dismissive opinions of Charles Burney and John Hawkins, and the supportive enthusiasm of his main British advocate, Charles Avison, is given its rightful position. Questions of present-day performance values are also contrasted with Geminiani's philosophy, and many leads presented for the future investigation of this enigmatic but individual genius. $158.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Leipzig Edition of the Works of Felix Mendelssohn Bartholdy Breitkopf & Härtel
Violin solo, orchestra SKU: BR.SON-433 Complete Works. Composed by...(+)
Violin solo, orchestra SKU: BR.SON-433 Complete Works. Composed by Felix Bartholdy Mendelssohn. Edited by Birgit Muller and Salome Reiser. Linen. Complete Works. Romantic period. Complete Works. 184 pages. Breitkopf and Haertel #SON 433. Published by Breitkopf and Haertel (BR.SON-433). ISBN 9790004802892. 10 x 12.5 inches. Felix Mendelssohn Bartholdy's violin concerto op. 64 had - like many of his other works - a lengthy genesis: it is in the summer of 1838 that surviving documents first mention the promise made to his friend Ferdinand David, concert master of the Leipzig Gewandhaus, to write, besides a sonata, a grand solo concerto for him. Ultimately, work on this opus continued - with some longer interruptions - until September 1844. Even then, it owed its preliminary completion in no small measure to the constant urging of the prospective solo violinist. But after the ,,official handing-over of the parts to David and a first joint rehearsal of the concert in Leipzig Mendelssohn continued working on the score. There subsequently began an intensive correspondence with David between Leipzig and Frankfurt am Main, where Mendelssohn resided with his family, in particular concerning issues of the principal part and the reworking of the solo cadence. In March 1845 the then current version of the work was premiered in a subscribers' concert in Leipzig.This volume deals with Mendelssohn's first complete manuscript of the score with the corrections contained therein, including all surviving drafts and sketches; also included is the epistolary evidence of the correspondence with Ferdinand David prior to the premiere. The further developments up to the printing of the main version of op. 64 by Breitkopf & Hartel are dealt with in Series II, Vol. 7 of the edition. $248.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wit...(+)
Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va)) SKU: BR.OB-5329-16 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-16. Published by Breitkopf and Haertel (BR.OB-5329-16). ISBN 9790004333549. 10 x 12.5 inches. According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Violin 1 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wit...(+)
Violin 1 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va)) SKU: BR.OB-5329-15 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-15. Published by Breitkopf and Haertel (BR.OB-5329-15). ISBN 9790004333532. 10 x 12.5 inches. According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Rondino String Orchestra [Score and Parts] - Easy Carl Fischer
Orchestra String Orchestra - Grade 3 SKU: CF.CAS42 On a Theme of Beeth...(+)
Orchestra String Orchestra - Grade 3 SKU: CF.CAS42 On a Theme of Beethoven. Composed by Fritz Kreisler. Arranged by Doris Gazda. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 16+4+10+10+16+5+8 pages. Carl Fischer Music #CAS42. Published by Carl Fischer Music (CF.CAS42). ISBN 9780825867071. UPC: 798408067076. 8.5 X 11 inches. Key: D major. This popular piece for solo violin and piano has been skillfully arranged by string pedagogue Doris Gazda. A standard piece in the repertoire, it adapts quite well to the string orchestra. This is an excellent piece for an advancing group. A rondo is a musical form that was commonly used by composers from the classical through the romantic music periods. It was often the form used for the last movement of a sonata, a symphony, a concerto or a piece of chamber music.The rondo form consists of a main theme (part A) that recurs with contrasting sections (parts B, C, D and so on) in between. The contrasting sections can change key and can change from major to minor tonality. A typical form of a rondo might be ABACADABA. It is usually written in triple meter, and is lively and joyful in character. Beethoven used the rondo form quite often, and Fritz Kreisler, the famous violinist and composer, found a Beethoven melody and turned it into this “little rondo,†or rondino, written originally for violin and piano.This arrangement for string orchestra can also be played by a small string ensemble. It should be played with a light style of bowing so as to give it a happy, lilting quality. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Harpsichord, Flute, Violin, Strings and Basso continuo in A minor, BWV 1044 "Triple Concerto" [Score] Barenreiter
Harpsichord-solo,flute-so lo,violin-solo,strings,ba sso continuo (Harpsichord so...(+)
Harpsichord-solo,flute-solo,violin-solo,strings,basso continuo (Harpsichord solo, Flute solo, Violin solo, Strings, Basso continuo) SKU: BA.BA05259 Composed by Johann Sebastian Bach. Edited by Dietrich Kilian. This edition: urtext edition. Paperback. Barenreiter Urtext. Score. BWV 1044. Baerenreiter Verlag #BA05259. Published by Baerenreiter Verlag (BA.BA05259). ISBN 9790006568437. 31 x 24.3 cm inches. Key: A minor. Preface: Signer, Emanuel. The Concerto in A minor (BWV 1044) is often referred to as the “Triple Concerto” and may have been written by Bach for a public concert at Zimmermann’s coffee house in Leipzig. The “Triple Concerto” has been composed for orchestra and three soloists (harpsichord, flute and violin), the precise solo instrumentation of the Brandenburg Concerto No. 5.
This critical Urtext edition is based on the second printing of the “New Bach Edition” (NBA) volume edited by Dietrich Kilian. He examines the complex genesis of the work from Bach’s earlier compositions – e.g. from the Prelude and Fugue for Harpsichord (BWV 894) or the Trio Sonata for Organ (BWV 527). Bach’s autograph is lost, but copies by Johann Friedrich Agricola and Johann Gottfried Müthel have been handed down and it is these sources to which the editor refers.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$47.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Violin 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-15(+)
Violin 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-15 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by Erler. David. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-15. Published by Breitkopf and Haertel (BR.OB-32090-15). ISBN 9790004350409. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Violin 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-16(+)
Violin 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-16 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-16. Published by Breitkopf and Haertel (BR.OB-32090-16). ISBN 9790004350416. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Chorus (with soloists) and piano (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) <...(+)
Chorus (with soloists) and piano (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.EB-32090 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Choir; stapled. Edition Breitkopf. Cantata; Baroque; Renaissance/early Baroque. Piano/Vocal Score. 24 pages. Duration 12'. Breitkopf and Haertel #EB 32090. Published by Breitkopf and Haertel (BR.EB-32090). ISBN 9790004186688. 7.5 x 10.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $18.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hayato Sumino Piano Works Piano solo [Score] Yamaha
Piano Solo SKU: YM.GTP01101569 Composed by Hayato Sumino. J-Pop. Score. Y...(+)
Piano Solo SKU: YM.GTP01101569 Composed by Hayato Sumino. J-Pop. Score. Yamaha Music Media #GTP01101569. Published by Yamaha Music Media (YM.GTP01101569). ISBN 9784636112634. 12 x 9 inches. Introducing the official sheet music collection of Hayato Sumino, currently one of the most prominent active Japanese pianists globally. Known for his extensive concert performances both in Japan and abroad, Sumino captivates fans through his YouTube channel as Cateen, where he uniquely blends classical techniques, arrangements, and improvisation. This collection features seven pieces, ranging from familiar piano compositions showcased on YouTube and in concerts to lively performances using a toy piano and melodica, such as Tinkerland. Also included are the jazzy number composed for a commercial, TOUT LE MONDE VALSE, and the beautiful piano trio (violin, cello, piano) piece Kasumigusa. This compilation not only explores classical genres but showcases Sumino's versatile talent. --About Hayato Sumino 'Cateen': A Japanese pianist and composer gaining international recognition, Hayato Sumino won the Grand Prix at the 42nd PTNA Piano Competition Special Class during his graduate studies at the University of Tokyo. Beyond numerous concert activities, he captivates a global audience as a YouTuber under the name 'Cateen,' blending classical techniques, arrangements, and improvisation. In addition to his piano performances, he shares insights into the mechanisms of his playing and arrangements through the Cateen Lab. Explore the sheet music collections of the pianist who continues to challenge and innovate, offering not just a chance to try piano performances but also an opportunity to savor the charm of his arrangements. $18.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Viola 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-20 ...(+)
Viola 2 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-20 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-20. Published by Breitkopf and Haertel (BR.OB-32090-20). ISBN 9790004350430. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Basso (cello/double bass) (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: ...(+)
Basso (cello/double bass) (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-26 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 8 pages. Duration 12'. Breitkopf and Haertel #OB 32090-26. Published by Breitkopf and Haertel (BR.OB-32090-26). ISBN 9790004350447. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Organ (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-11 <...(+)
Organ (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-11 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 12 pages. Duration 12'. Breitkopf and Haertel #OB 32090-11. Published by Breitkopf and Haertel (BR.OB-32090-11). ISBN 9790004350393. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben [Score] Breitkopf & Härtel
Chorus (with soloists) and orchestra (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - b...(+)
Chorus (with soloists) and orchestra (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.PB-32090 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Partitur-Bibliothek (Score Library). Cantata; Baroque; Renaissance/early Baroque. Full score. 60 pages. Duration 12'. Breitkopf and Haertel #PB 32090. Published by Breitkopf and Haertel (BR.PB-32090). ISBN 9790004215708. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too. Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $57.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Viola 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-19 ...(+)
Viola 1 (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-19 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 4 pages. Duration 12'. Breitkopf and Haertel #OB 32090-19. Published by Breitkopf and Haertel (BR.OB-32090-19). ISBN 9790004350423. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Daran erkennen wir, dass wir in Ihm bleiben Breitkopf & Härtel
Wind parts (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-30<...(+)
Wind parts (SSATB - 0.2.0.1 - 2.0.0.0 - timp - str - bc) SKU: BR.OB-32090-30 Cantata for Whitsunday - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; Folder. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque; Renaissance/early Baroque. Sheet Music. 24 pages. Duration 12'. Breitkopf and Haertel #OB 32090-30. Published by Breitkopf and Haertel (BR.OB-32090-30). ISBN 9790004350454. 10 x 12.5 inches. The cantata Daran erkennen wir, dass wir in Ihm bleiben is intended for the first Whitsun holiday. It is based on a text by Johann Christoph Wentzel (1659-1723), the yearly volume in which it appears dates to August 4, 1703 and is dedicated to, among others, Hn. Joh. Kuhnau / | Chori Musici bey der | Stadt Leipzig Directori [Herr Joh. Kuhnau / Director of Choral Music at the City of Leipzig]. It can be assumed that Kuhnau's composition originated near the time of the text, thus within his first years in office as the Leipzig St. Thomas cantor. Kuhnau follows the structure of Wentzel's poem in a Dictum and four verses with introductory sonata, although some details are varied. In comparison to other works by Kuhnau, the scoring is fairly large with five vocal parts, trumpets, timpani, oboes, and bassoon as well as two violins and violas each. The short performing time, on the other hand, makes the cantata suitable for liturgical use, too.Audio samples: Opella Musica, camerata lipsiensis, cond. Gregor Meyer (cpo, 2013). $33.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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