SKU: BR.EB-8809

You will find supplementary material online

Baroque period. Score. 184 pages. Breitkopf and Haertel #EB 8809. Published by Breitkopf and Haertel (BR.EB-8809).

ISBN 9790004183786. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The situation of the chorale partitas is not quite so dramatic, whereby these holdings also had to be subdivided for reasons of transmission into main section, appendix, and online presentation. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: BR.EB-8810

You will find supplementary material online

ISBN 9790004183793. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: HL.14032192

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

SKU: BT.GOB-000467-120

Nicolai Rimsky-Korsakov (1844-1908) came from an aristocratic family which lived near Novgorod.
When he appeared to be musically gifted as a child, his parents did not hesitate one moment to map out a more honourable profession for him he was to make a career in the navy as a marine officer.
Rimsky-Korsakov, however, succeeded in secretly studying the cello next to his studies at the Naval Academy at St Petersburg. Through his cello teacher he came into contact with the composer Balakirev.
In this way he suddenly became a member of The Mighty Five (a group of Russian composers consisting of Balakirev, Moussorgsky, Cui, Borodin and Rimsky-Korsakovhimself).
Rimsky-Korsakov turned out to be so talented that he even became a teacher at the St Petersburg Conservatory.

‘Procession of the Nobles’ comes from the opera-ballet ‘Mlada’.
The opera has a remarkable history, for between 1868 and 1870 five different composers worked on this project.
The final result was never executed, however.
Twenty years later Rimsky-Korsakov started work on the opera once more and composed his own version of Mlada.The theme of the opera is a tragic love story that is set in the early Middle Ages in a realm on the Baltic Sea. In ‘Processsion of the Nobles’ all the princesses of the country gather for a grand feast on the occasion of the summer holidays.

Nicolai Rimsky-Korsakov (1844-1908) stamde uit een aristocratische familie in de buurt van Novgorod.
Toen al spoedig bleek dat hij muzikaal erg begaafd was, waren zijn ouders er als de kippen bij om voor hem een eerbaarder loopbaanuit te stippelen: een carri?re als marine-officier was voor hem weggelegd.
Rimsky-Korsakov zag echter kans naast zijn studies aan de Marineschool van Sint-Petersburg tevens in het geheim cello te studeren. Zijn clandestineleraar bracht hem in contact met Balakirev.
Op die manier behoorde hij plots tot het ‘Machtige Hoopje’ (een groep Russische componisten bestaande uit: Balakirev, Moussorgsky, Cui, Borodin en Rimsky-Korsakov).
Rimsky-Korsakovbleek zoveel talent te hebben dat hij zelfs leraar aan het conservatorium werd.

‘Procession of the Nobles’ is afkomstig uit de ballet-opera ‘Mlada’. Deze opera heeft een merkwaardige geschiedenis.
Tussen 1868 en1870 hebben vijf verschillende componisten aan dit project gewerkt. Het eindresultaat werd echter nooit uitgevoerd.
Twintig jaar later heeft Rimsky-Korsakov de draad weer opgepakt en zijn eigen versie van Mlada gemaakt.
Hetthema van de opera is een tragisch liefdesverhaal dat zich afspeelt in de vroege Middeleeuwen in een gebied aan de Baltische Zee. In 'Procession of the Nobles' verzamelen alle prinsessen van het land zich voor een groot feest tergelegenheid van de zomervakantie.

SKU: HL.51481083

ISBN 9790201810836. UPC: 888680950804. 9.5x12.25x0.359 inches.

Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.” So Brahms made overtures to other publishers, and then Simrock finally agreed to take it on. The critics were initially rather skeptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: CF.YAS210F

ISBN 9781491160701. UPC: 680160919307.

In the dim moonlight on a night long past a rider emerges from the fog and slowly dares to cross a mysterious and unsettling bridge. The trembling rider hesitates, unsure whether he is more nervous about the legend of the headless horseman or the creaking and shifting he feels under his own horse's hooves. Haunted Bridges is a work for string orchestra inspired by Washington Irving's Ichabod Crane and his ill-fated ride in Sleepy Hollow. The piece contains allusions to the tune London Bridge is Falling Down, first as a creeping counter-melody and later as a theme in a twisted 3/4 section whose shifting harmonic progression draws to mind the fall of the fabled bridge. Haunted Bridges contains alternating F/C-sharps and -naturals throughout and devilishly unpredictable harmonic patterns. The piece also calls for numerous extended techniques that students will enjoy, including playing behind the bridge, sul ponticello, portamento, and seagull glissandi. Special techniques: Haunted Bridges calls for a handful of extended techniques, most of which are self explanatory or commonly known. The technique appearing in the Violin II part from measures 58-72 may require some additional explanation. This figure is sometimes referred to as seagull glissando and is achieved by lightly touching the finger to the string and gliding up and down the string, producing many transient natural harmonics as the finger crosses the nodes of the string. It is suggested to start with the 3rd finger on the A string and slowly glissando up beyond the natural A harmonic, then slowly back down, continuing in this pattern until measure 73. It is also intended for each player to vary their speed slightly so that the timing of the glissandi are all a little different, resulting in a shimmering, aleatoric effect.
In the dim moonlight on a night long past a rider emerges from the fog and slowly dares to cross a mysterious and unsettling bridge. The trembling rider hesitates, unsure whether he is more nervous about the legend of the headless horseman or the creaking and shifting he feels under his own horse's hooves. Haunted Bridges is a work for string orchestra inspired by Washington Irving's Ichabod Crane and his ill-fated ride in Sleepy Hollow. The piece contains allusions to the tune London Bridge is Falling Down, first as a creeping counter-melody and later as a theme in a twisted 3/4 section whose shifting harmonic progression draws to mind the fall of the fabled bridge. Haunted Bridges contains alternating F/C-sharps and -naturals throughout and devilishly unpredictable harmonic patterns. The piece also calls for numerous extended techniques that students will enjoy, including playing behind the bridge, sul ponticello, portamento, and seagull glissandi.Special techniques:Haunted Bridges calls for a handful of extended techniques, most of which are self explanatory or commonly known. The technique appearing in the Violin II part from measures 58-72 may require some additional explanation. This figure is sometimes referred to as seagull glissando and is achieved by lightly touching the finger to the string and gliding up and down the string, producing many transient natural harmonics as the finger crosses the nodes of the string. It is suggested to start with the 3rd finger on the A string and slowly glissando up beyond the natural A harmonic, then slowly back down, continuing in this pattern until measure 73. It is also intended for each player to vary their speed slightly so that the timing of the glissandi are all a little different, resulting in a shimmering, aleatoric effect.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: CA.3721919

ISBN 9790007214821. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and parts available separately - see item CA.3721900.

SKU: CA.3721900

ISBN 9790007142629. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus.

SKU: CA.3721909

ISBN 9790007214814. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and parts available separately - see item CA.3721900.