| The Performer's Complete Fake Book - C Edition [fakebook] Hal Leonard
(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop Vocal and Vocal Standards. Difficulty: easy-medium. Fakebook. Vocal melody, lyrics and chord names. 396 pages. Published by Hal Leonard fakebook Pop Vocal and Vocal Standards
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| Mastering the Guitar Book 2A Guitar [Sheet music + CD] - Easy Mel Bay
by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All sty...(+)
by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All styles, assorted music styles. Level: Beginning-Intermediate. Book/CD Set. Method. Size 8.75x11.75. 184 pages. Published by Mel Bay Pub., Inc.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bach: Complete Organ Works (Version 2.0)
Organ [CD Sheet Music] Subito Music
By Johann Sebastian Bach. For Organ. (Organ). CD Sheet Music (Version 2.0). PDF ...(+)
By Johann Sebastian Bach. For Organ. (Organ). CD Sheet Music (Version 2.0). PDF file on CD. 900 pages. Published by Subito Music.
(6)$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Trinity Fugues Organ CanticaNOVA Publications
Composed by Stephen McManus. For organ. Bachian fuges - think Saint Anne in Eb...(+)
Composed by Stephen McManus. For organ. Bachian fuges - think Saint Anne in Eb. General. Published by CanticaNOVA Publications
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| Liszt: Collected Works for Piano (Version 2.0)
Piano solo [CD Sheet Music] Subito Music
By Franz Liszt. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file ...(+)
By Franz Liszt. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 3700 pages. Published by Subito Music.
$28.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Ultimate Organ Book
Organ [Sheet music] Hope Publishing Company
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding and Sacred. Print Music Collection (Book). 407 pages. Published by Hope Publishing Company. Level: (Moderate).
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| Fanfare Prelude: O God, Our Help in Ages Past Concert band - Intermediate/advanced Curnow Music
Concert Band - Grade 4 SKU: HL.44000751 Grade 4 - Score and Parts....(+)
Concert Band - Grade 4 SKU: HL.44000751 Grade 4 - Score and Parts. Composed by James Curnow. Curnow Music Concert Band. General Worship, Hymn. Duration 240 seconds. Curnow Music #25899010. Published by Curnow Music (HL.44000751). UPC: 073999764987. 9x12 inches. Fanfare Prelude: O God, Our Help in Ages Past is based on the hymn tune St. Anne, which was used by Handel in the Chandos anthem O Praise the Lord and by J.S. Bach in his triple fugue in E-flat, The St. Anne Fugue. The arrangement presented here captures the thoughts of this magnificent hymn, which speaks of an unwavering reliance upon God. $64.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Moving Heaven and Earth Concert band - Intermediate/advanced Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variat...(+)
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variations on an Original Theme (after Gabriel Fauré). Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 40 pages. Anglo Music Press #AMP 339-140. Published by Anglo Music Press (BT.AMP-339-140). 9x12 inches. English-German-French-Dutch. Moving Heaven and Earth was commissioned by the Clark County School District Commissioning Project, Las Vegas, NV, USA and is dedicated to Bunny Wasserman and her Make Music Matter, Las Vegas foundation, in appreciation of her tireless work in support of music education. It was premiered in January 2012, conducted by Col. John R. Bourgeois.The piece consists of a theme and 4 variations; although the theme is original it contains a phrase heavily influenced by a 14-bar passage from the Libera Me in Fauré’s Requiem. It is a sequence that the composer finds harmonically compelling and, although it is never quoted directly, it appears in altered form in thetheme and each of the variations. In the original, the passage is set to the words: Quando cæli movendi sunt et terra (When the heavens and the earth shall be moved) which gave inspiration for the title.After the initial statement of the theme, Variation 1 features the upper woodwinds who play a stirring melody and accompany the Fauré reference with florid arpeggios. Variation 2 spotlights the saxophones and lower woodwind in a rhythmic, modal waltz, whilst Variation 3 is a broad chorale for the brass and percussion. Variation 4 starts with a fugue, which introduces each section of the band in turn before the original theme appears on the brass while the woodwind continue the fugal figuration.
Moving Heaven and Earth is geschreven in opdracht van het Clark County School District Commissioning Project, Las Vegas, NV, USA. Het is opgedragen aan Bunny Wasserman en haar stichting Make Music Matter… Las Vegas, als blijk van waardering voor haar onvermoeibare inzet voor het muziekonderwijs. De première, uitgevoerd onder leiding van kolonel John R. Bourgeois, vond plaats in januari 2012.Het werk bestaat uit een thema en vier variaties; hoewel het een oorspronkelijk geschreven thema is, bevat het een frase die sterk is be nvloed door een passage van veertien maten uit het Libera Me van Faurés Requiem. Het gaat om een sequens die de componist harmonischzeer boeiend vindt, en die - hoewel nooit direct geciteerd - in aangepaste vorm in zowel het thema als de vier variaties naar voren komt. In het origineel is de muziek uit deze passage geschreven op de tekst Quando cæli movendi sunt et terra (Wanneer hemel en aarde bewogen worden). Daarop is de titel van deze compositie gebaseerd.Na de aanvankelijke invoering van het thema komt in Variatie 1 het hoge hout aan bod met een treffende melodie; en de verwijzing naar Fauré wordt begeleid door sierlijke arpeggio’s. Variatie 2 plaatst de saxofoons en het lage hout in de schijnwerpers met een ritmische, modale wals, terwijl Variatie 3 een weidse koraal voor het koper en slagwerk omvat.Variatie 4 begint met een fuga die elke sectie van het orkest introduceert, waarna het oorspronkelijke thema in het koper verschijnt terwijl het hout verdergaat met de fugatische versieringen.
Moving Heaven and Earth wurde vom Schulbezirksverband in Las Vegas, Nevada (USA) in Auftrag gegeben. Das Stück ist Bunny Wasserman und ihrer Stiftung Make Music Matter, Las Vegas gewidmet, in Anerkennung ihrer unermüdlichen Anstrengungen zugunsten der musikalischen Ausbildung. Die Uraufführung fand im Januar 2012 unter Leitung von Colonel John R. Bourgeois statt.Das Stück besteht aus einem Thema und vier Variationen. Obwohl es sich um ein originales Thema handelt, ist doch ein Abschnitt daraus stark von einer 14-taktigen Passage aus dem Libera Me in Faurés Requiem beeinflusst. Es ist eine Sequenz, die dem Komponisten harmonisch besonders reizvoll erschien, wennsie auch nirgends direkt zitiert wird, sondern in veränderter Form im Thema und in jeder Variation erscheint. Im Original ist diese Passage mit folgendem Text unterlegt: Quando cæli movendi sunt et terra (Wenn Himmel und Erde sich bewegen sollen). Diese Worte waren Inspiration für den Titel.Nach der einleitenden Vorstellung des Themas stellt Variation 1 die hohen Holzbläser in den Vordergrund, die eine bewegende Melodie spielen und die Anspielung auf Fauré mit schönen, lebhaften Arpeggien begleiten. Variation 2 richtet das Rampenlicht auf die Saxophone und die tiefen Holzbläser in einem rhythmischen, modalen Walzer, während Variation 3 ein breiter Choral für die Blechbläser und das Schlagzeug ist. Variation 4 beginnt mit einer Fuge, die nacheinander jedes Register des Blasorchesters präsentiert, bevor die Blechbläser das Originalthema spielen und die Holzbläser dazu mit der Umspielung der Fuge fortfahren.
Moving Heaven and Earth (Ébranler le ciel et la terre) est une oeuvre de commande du Clark County School District Commissioning Project de Las Vegas, États-Unis. Cette pièce est dédiée Bunny Wasserman et sa fondation Make Music Matter, Las Vegas, en reconnaissance de son travail sans rel che en faveur de l’éducation musicale. Elle a été créée en janvier 2012, sous la direction du colonel John R. Bourgeois.Cette oeuvre se compose d’un thème et de quatre variations ; bien que le thème soit original, il contient néanmoins un motif relativement influencé par un passage de 14 mesures du Libera Me du Requiem de Fauré. Cette séquence, dont l’harmonisation fascinePhilip Sparke, paraît sous une forme altérée dans le thème et chacune des variations. Dans l’oeuvre de Fauré, le thème mélodique colore les paroles : Quando cæli movendi sunt et terra (Quand le ciel et la terre seront ébranlés), qui ont d’ailleurs inspiré le titre de la présente composition.Après une exposition initiale du thème, la 1re variation fait appel au registre aigu des bois, qui énoncent une exaltante mélodie et enluminent l’allusion Fauré par des arpèges fleuris. La 2e variation met en valeur les saxophones et le registre grave des bois dans une valse modale rythmée, tandis que la 3e variation prend la forme d’un ample choral pour les cuivres et la percussion.La 4e variation installe une fugue qui présente, tour tour, chaque pupitre de l’orchestre avant le retour du thème d’origine interprété par les cuivres, tandis que les bois maintiennent brillement le motif de fugue. $52.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Keyboard Strategies Piano solo Schirmer
Master Text II. By Various. Piano Collection. 432 pages. Published by G. Schirme...(+)
Master Text II. By Various. Piano Collection. 432 pages. Published by G. Schirmer, Inc.
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| Prelude and Fugue in E-Flat BWV 552 (St. Anne) Concert band - Intermediate/advanced Alfred Publishing
By Johann Sebastian Bach (1685-1750). Arranged by Donald Hunsberger. Concert Ban...(+)
By Johann Sebastian Bach (1685-1750). Arranged by Donald Hunsberger. Concert Band. Concert Band; Masterworks. Donald Hunsberger Wind Library. Form: Transcription. Baroque; Masterwork Arrangement. Grade 4. Conductor Score and Parts. 444 pages. Published by Alfred Music Publishing
$250.00 $237.5 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fugue in E-flat major BWV 552 Concert band - Intermediate/advanced Baton Music
(St. Anne's Fugue). By Joh. Sebastian Bach. Arranged by Gary Bricault. For Conce...(+)
(St. Anne's Fugue). By Joh. Sebastian Bach. Arranged by Gary Bricault. For Concert Band. Grade 4. Full score and set of parts. Duration 6:00
$159.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Prelude and Fugue in E-Flat BWV 552 (St. Anne) (score only) Concert band [Score] - Intermediate/advanced Alfred Publishing
By Johann Sebastian Bach (1685-1750). Arranged by Donald Hunsberger. Concert Ban...(+)
By Johann Sebastian Bach (1685-1750). Arranged by Donald Hunsberger. Concert Band. Concert Band; Masterworks. Donald Hunsberger Wind Library. Form: Transcription. Baroque; Masterwork Arrangement. Grade 4. Score. 84 pages. Published by Alfred Music Publishing
$75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Oxford Bach Books for Organ: Manuals Only, Book 1 Organ - Easy Oxford University Press
(Grades 2-5). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Mars...(+)
(Grades 2-5). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Marsden Thomas. For organ. Oxford Bach Books for Organ. Pieces and Studies. Level B (easy). 56 pages. Published by Oxford University Press
$20.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 1 String Quartet: 2 violins, viola, cello Fennica Gehrman
String Quartet SKU: FG.55011-574-3 Composed by Kalevi Aho. Score+parts. F...(+)
String Quartet SKU: FG.55011-574-3 Composed by Kalevi Aho. Score+parts. Fennica Gehrman #55011-574-3. Published by Fennica Gehrman (FG.55011-574-3). ISBN 9790550115743. Kalevi Aho (b.1949) was only 18 years old when he completed his String Quartet no. 1 in g minor (1967). Nonetheless it was already the second one of its kind: the earlier string quartet in a minor got christened String Quartet No. 0 and banned from performing. The g minor quartet was heard the first time only 50 years after it was born, when the Kamus Quartet premiered it at the Musica Kalevi Aho Festival in Forssa on June 28, 2019. In Aho's home town, Forssa, it was not possible to study composition with a teacher: My model in this and the other works I composed while I was at school was all the mostly tonal music I had personally played on the violin or heard on the radio. The first movement, Moderato, begins in variation form, until followed by a fugue based on the variation theme. The initially lyrical second movement has a quick, virtuosic and light middle section. The third movement is a very quick scherzo that becomes dramatic, and the work ends with a chorale-like finale. The composer tells: When I got to study composition at the Sibelius Academy in autumn 1968 and showed the quartet to my teacher, Einojuhani Rautavaara, he said there was no point my studying tonal harmony and tonal formal constructions any longer; that I could do the exams in them straight away and start the courses in modern music resources there and then.. $60.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Complete Organ Works in 9 volumes Volume 3 Organ Peters
By Johann Sebastian Bach. Edited by Keller. For Organ. Fantasy and Fugue(c); 6 P...(+)
By Johann Sebastian Bach. Edited by Keller. For Organ. Fantasy and Fugue(c); 6 Preludes and Fugues:E|(St. Anne or Trinity); d(Violin Fugue); g; C; a; e(Cathedral,Little or Night Watchman); 3 Toccatas and Fugues:F; d(Dorian); C. Published by C.F. Peters.
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| Madrigal Pavane / Timburibá Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287). ISBN 9782898522048. Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others. In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre. Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez. Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin). In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions. In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro. Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro. The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.
Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres. En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre. De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez. Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne). En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes. En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro. Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro. La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ». Envoyer des commentaires Panneaux latéraux Historique Enregistrées. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fanfare prelude: O God our Help in Ages Past Concert band - Intermediate/advanced Curnow Music
Concert Band/Harmonie - Grade 4 SKU: BT.CMP-0258-99-010 Composed by James...(+)
Concert Band/Harmonie - Grade 4 SKU: BT.CMP-0258-99-010 Composed by James Curnow. Praise and Adoration Series. Set (Score & Parts). Composed 1999. Curnow Music #CMP 0258-99-010. Published by Curnow Music (BT.CMP-0258-99-010). FANFARE PRELUDE: O GOD OUR HELP IN AGES PAST is based on the hymn-tune “St. Anne,†which was used by G.F.Handel in the Chandos anthem “O Praise the Lord,†and by J.S.Bach in his triple fugue in E-flat “The St. Anne Fugue.†James Curnow’s FANFARE PRELUDE: O GOD OUR HELP IN AGES PAST captures the thoughts of this magnificent hymn, which speaks of our country’s reliance upon God. The unusual 4/4 meter setting with artfully crafted re-harmonizations and lush counterpoint gives each listener cause to reflect on the importance and meaning of this melody to patriotic Americans everywhere.Inspired! $107.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prelude and Fugue (St. Anne), BWV 552, from The Clavier-Ã?Å?bung, Part III 2 Pianos, 4 hands Peermusic Classical
(transcribed for 2 Pianos, 4 Hands by John Musto Two Scores included). Composed ...(+)
(transcribed for 2 Pianos, 4 Hands by John Musto Two Scores included). Composed by Johann Sebastian Bach (1685-1750). Arranged by John Musto. For Piano Duet, 2 Pianos, 4 Hands. Peermusic Classical. Peermusic #70067-506. Published by Peermusic
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Oxford Bach Books for Organ: Manuals Only, Book 2 Organ Oxford University Press
(Grades 6-8). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Mars...(+)
(Grades 6-8). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Marsden Thomas. For organ. Oxford Bach Books for Organ. Pieces and Studies. Level C-D (moderately difficult - difficult). 56 pages. Published by Oxford University Press
$23.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oxford Bach Books for Organ: Manuals and Pedals, Book 1 Organ - Intermediate Oxford University Press
(Grades 4-5). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Mars...(+)
(Grades 4-5). Composed by Johann Sebastian Bach (1685-1750). Edited by Anne Marsden Thomas. For organ. Oxford Bach Books for Organ. Pieces and Studies. Level C (moderately difficult). 64 pages. Published by Oxford University Press
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| Johann Sebastian Bach: Collected Transcriptions
Piano solo [Sheet music] - Advanced Schirmer
Composed by Johann Sebastian Bach (1685-1750). For solo piano. Schirmer's Librar...(+)
Composed by Johann Sebastian Bach (1685-1750). For solo piano. Schirmer's Library, volume 2044. Format: piano solo book. With standard notation. Baroque. 232 pages. 9x12 inches. Published by G Schirmer, Inc.
(1)$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Prelude in E-flat Major St. Anne for 8-part Trombone Choir Trombone ensemble - Advanced Cherry Classics
Trombone octet - advanced SKU: CY.CC2849 Composed by Johann Sebastian Bac...(+)
Trombone octet - advanced SKU: CY.CC2849 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque. Score and Parts. Published by Cherry Classics (CY.CC2849). * The Prelude in E-flat, subtitled “St. Anne†gets its nickname from the similarity of its fugue theme and a hymn tune by William Croft, however, scholars feel there is no realistic connection, as Croft's work was only known in the British Isles. * Originally written for organ in 1736, this great music is the crowning achievement of a large volume of works for that instrument. * Mr. Sauer's 11-minute arrangement of this monumental Bach Prelude is brilliantly worked out to the last detail for an 8-part Trombone choir of advanced performers. $42.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Duo-Schatzkiste A Treasure Chest of Duos 2 Recorders (duet) - Easy Schott
Two Treble Recorders Recorder Duet; Treble Recorder - easy to intermediate SK...(+)
Two Treble Recorders Recorder Duet; Treble Recorder - easy to intermediate SKU: HL.49019380 Performance Score for 2 Treble Recorders. Composed by Various. Edited by Elisabeth Kretschmann. This edition: Saddle stitching. Sheet music. Woodwind. Originalkompositionen aus Renaissance, Barock und Moderne. Fur Spieler, die fundierte Grundkenntnisse besitzen. Auch gut geeignet fur Konzerte, Vorspiele und Wettbewerbe. Baroque, Classical, Contemporary, Modern, Renaissance. Softcover. 68 pages. Schott Music #ED21384. Published by Schott Music (HL.49019380). ISBN 9783795744960. UPC: 841886018808. 9.0x12.0x0.285 inches. German. This volume contains original compositions from the Renaissance, Baroque and modern eras. It is aimed at recorder players who possess profound basic knowledge. As material to be used in lessons, the pieces train the player's sense of style and the interpretation of music from different epochs. In addition, they deal with all aspects of duet playing, such as confidence in leading one's own part, performance for a balanced sound, intonation and improvement of the player's physical condition. These original pieces are also perfect for concerts, auditions, and competitions. $20.99 - See more - Buy online | | |
| Organ Works Organ Breitkopf & Härtel
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Organ Works. Composed by Dietrich Buxtehude. Edited by Harald Vogel. Solo instruments; Softbound. Edition Breitkopf. Renaissance/early Baroque; Baroque. Score. 84 pages. Breitkopf and Haertel #EB 9306. Published by Breitkopf and Haertel (BR.EB-9306). ISBN 9790004187708. 12 x 9 inches. 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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.
pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles. $45.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Organ Works Organ Breitkopf & Härtel
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Organ Works. Composed by Dietrich Buxtehude. Edited by Harald Vogel. Solo instruments; Softbound. Edition Breitkopf. Renaissance/early Baroque; Baroque. Score. 192 pages. Breitkopf and Haertel #EB 9415. Published by Breitkopf and Haertel (BR.EB-9415). ISBN 9790004188897. 12 x 9 inches. 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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.
pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles. $90.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Organ Works Organ Breitkopf & Härtel
Organ SKU: BR.EB-9305 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU: BR.EB-9305 Urtext - Critical Source Edition of the Free Organ Works. Composed by Dietrich Buxtehude. Edited by Harald Vogel. Solo instruments; Softbound. Edition Breitkopf. Renaissance/early Baroque; Baroque. Score. 84 pages. Breitkopf and Haertel #EB 9305. Published by Breitkopf and Haertel (BR.EB-9305). ISBN 9790004187692. 12 x 9 inches. 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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.
pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2. $50.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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