Organ SKU: CA.5027500 Composed by Josef Gabriel Rheinberger. Edited by Ma...(+)
Organ
SKU:
CA.5027500
Composed
by Josef Gabriel
Rheinberger. Edited by
Martin Weyer. Carus
digital: Extra digital
products. Full Score.
Composed 1853. Carus
Verlag #5027500.
Published by Carus Verlag
(CA.5027500).
ISBN
9790007298418. Key: F
minor.
As well as
20 organ sonatas and
seven collections of
stand-alone organ pieces
with opus numbers,
Rheinberger composed a
whole range of smaller
works for organ methods
or organ collections for
his favorite instrument,
mainly at the request of
colleagues and
friends.
The Fugue
in F minor (JWV 3) on
three themes shows the
remarkable contrapuntal
skill of a composer then
aged just 14 (1853).
Rheinberger dedicated it
to his organ teacher
Johann Georg Herzog, who
remained a follower of
the German Bach
tradition.
Separat
e edition from
Supplementary Volume 3 of
the Rheinberger Complete
Edition.
Three Characters Piano Trio: Violon, Alto, Piano Faber Piano Adventures
(The Collaborative Artist). Composed by Randall Faber. For Piano Trio. Faber Pia...(+)
(The Collaborative
Artist). Composed by
Randall Faber. For Piano
Trio. Faber Piano
Adventures�®. Late
Intermediate. Softcover.
Faber Piano Adventures
#FF7009. Published by
Faber Piano Adventures
Brass Quintet - advanced SKU: CY.CC2683 Composed by Johann Sebastian Bach...(+)
Brass Quintet - advanced
SKU: CY.CC2683
Composed by Johann
Sebastian Bach. Arranged
by Ralph Sauer. Baroque.
Score and parts.
Published by Cherry
Classics (CY.CC2683).
J. S. Bach's
massive work, The Art of
Fugue, is a summation of
his powers as a composer
of contrapuntal music.
Each fugue is a
masterpiece in its own
right.
Number
15 is an unfinished
four-voice, quadruple
fugue. Only the first
three subjects are
introduced, the third
being a chromatic subject
built from the letters of
Bach's
nameâ€â€B
(B-flat), A, C, H
(B-natural). Just at the
point where all three
subjects are combined,
the manuscript breaks
off, and C. P. E. Bach
wrote in the score that
the composer has died.
Bach clearly intended
that the original Art of
Fugue theme was to be the
final subject and all
four themes would combine
in a glorious climax.
Whether he intended to
finish the work or leave
it up to others to
complete is conjecture.
About 8 minutes in
length.
Aulos Volume I Piano seul - Avancé EMB (Editio Musica Budapest)
Piano - advanced SKU: BT.EMBZ14887 Piano pieces for practising polypho...(+)
Piano - advanced
SKU:
BT.EMBZ14887
Piano
pieces for practising
polyphony. Composed
by Gyorgy Orban.
Educational Tool. Book
Only. Composed 2014. 72
pages. Editio Musica
Budapest #EMBZ14887.
Published by Editio
Musica Budapest
(BT.EMBZ14887).
English-Hungarian.
Aulos to a certain
degree continues
Orbán's easy piano
pieces for children,
which he composed for
Ãgnes Lakos's piano
tutor and which Editio
Musica Budapest published
in a separate volume
entitled Enchanted Forest
in 2011 (Z. 14742). Yet
on this occasion the
composer took on
something which was both
significantly different
and more than his earlier
pieces for children. On
the one hand, he did not
compose for beginners but
for more advanced
students who have studied
piano for at least three
years. On the other, he
did not set developing
the technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures(imitation,
fugue, stretto,
inversion, augmentation
and diminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
Orbán introduces his
students to the mysteries
of polyphony in a direct
and practical manner, and
thus actually makes them
familiar with the art of
composition.The
educational use of the
series is significantly
increased by the fact
that before each piece
the composer presents and
clarifies with
demonstrative
illustrations the
polyphonic procedure he
introduces. Orbán's
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Aulos to
a certain degree
continues Orbáns easy
piano pieces for
children, which he
composed for Ãgnes
Lakoss piano tutor and
which Editio Musica
Budapest published in a
separate volume entitled
Enchanted Forest in 2011
(Z. 14742). Yet on
thisoccasion the composer
took on something which
was both significantly
different and more than
his earlier pieces for
children. On the one
hand, he did not compose
for beginners but for
more advanced students
who have studied piano
for at least threeyears.
On the other, he did not
set developing the
technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures (imitation,
fugue, stretto,
inversion, augmentation
and diminution,double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
The educational use of
the series is
significantly increased
by the fact that before
each piece the composer
presents and clarifies
with demonstrative
illustrations the
polyphonic procedure he
introduces. Orbáns
explanations are not
text-book-like atall, but
are deliberately personal
and subjective, full of
lessons and individual
associations taken from
his practice as a
composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purposethey
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Viola, Cello & Piano SKU: SU.32040150 For Viola, Cello & Piano. Co...(+)
Viola, Cello & Piano
SKU: SU.32040150
For Viola, Cello &
Piano. Composed by
Amy Riebs Mills. Chamber
Music, String
Trio/Quartet/Quintet.
Score & Parts. Subito
Music Corporation
#32040150. Published by
Subito Music Corporation
(SU.32040150).
From delightful
to lonesome to fiery,
this three movement suite
invites both performers
and listeners to share
the joy of being
enveloped in richness of
tone, creating poignant
expressions of the heart.
Marvelous recital and
concert music. Vignette
I: Delightful Dance
Jaunty rhythms and clever
surprises render a joyful
opening section. Later, a
warm, love filled melody
is poured out by each
instrumentalist, and
climbs to a glorious
tutti. Then it is back to
the joyful dance, a few
more surprises, and a
delightfully happy
ending. Vignette II:
Lonesome Chaconne opens
with two dark chords.
Then the piano begins the
chaconne with a mournful
bass line and plaintive
off beats. The viola
enters and plays a
lonesome melody, then is
joined by the cello in a
melancholy duet over the
chaconne until it dies
away. The cello's brief
recitative emerges from
the depths into an aching
cry that is then echoed
by the viola. Joining
together, they pour out a
fervent melody, moving
higher and higher until
they breakthrough to the
light. Alas, the vision
fades, and they return to
only fragments as the
chaconne disappears.
Vignette III: Fiery Fugue
opens with a feisty
subject melody, first in
the viola, followed by
the cello, piano right
hand, and left hand. It
is similar in form to a
Bach fugue, but uses
modal tonality and
syncopated rhythms. The
statements and episodes
build to a recall of the
fervent melody from the
second movement, leading
to the final dynamic
unison statement of the
fugue subject. Just as it
almost dies away, it
recharges and boldly
bounds ahead to the end.
Difficulty Level: 5
(Advanced) Viola, Cello,
Piano Duration: 13'30
Composed: 2016 Published
by: Amy Mills Music, LLC
See composer website for
audio sample.
Piano SKU: BT.EMBZ14888 Piano pieces for practising polyphony. Com...(+)
Piano
SKU:
BT.EMBZ14888
Piano
pieces for practising
polyphony. Composed
by Gyorgy Orban.
Educational Tool. Book
Only. Composed 2014. 80
pages. Editio Musica
Budapest #EMBZ14888.
Published by Editio
Musica Budapest
(BT.EMBZ14888).
English-Hungarian.
Aulos to a certain
degree continues
Orbán's easy piano
pieces for children,
which he composed for
Ãgnes Lakos's piano
tutor and which Editio
Musica Budapest published
in a separate volume
entitled Enchanted Forest
in 2011 (Z. 14742). Yet
on this occasion the
composer took on
something which was both
significantly different
and more than his earlier
pieces for children. On
the one hand, he did not
compose for beginners but
for more advanced
students who have studied
piano for at least three
years. On the other, he
did not set developing
the technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures(imitation,
fugue, stretto,
inversion, augmentation
and diminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
Orbán introduces his
students to the mysteries
of polyphony in a direct
and practical manner, and
thus actually makes them
familiar with the art of
composition.The
educational use of the
series is significantly
increased by the fact
that before each piece
the composer presents and
clarifies with
demonstrative
illustrations the
polyphonic procedure he
introduces. Orbán's
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Aulos is
composed for more
advanced students who
have studied piano for at
least three years. Aim is
a systematic presentation
of different polyphonic
genres and compositional
procedures (imitation,
fugue, stretto,
inversion, augmentation
anddiminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
The educational use of
the series is
significantly increased
by the fact that before
each piece the composer
presents and clarifies
withdemonstrative
illustrations the
polyphonic procedure he
introduces. Orbáns
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - whilethey
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play.
Brass Quintet - advanced SKU: CY.CC2679 Composed by Johann Sebastian Bach...(+)
Brass Quintet - advanced
SKU: CY.CC2679
Composed by Johann
Sebastian Bach. Arranged
by Ralph Sauer. Baroque.
Score and parts.
Published by Cherry
Classics (CY.CC2679).
J. S. Bach's
massive work, The Art of
Fugue, is a summation of
his powers as a composer
of contrapuntal music.
Each fugue is a
masterpiece in its own
right.
Number
Eleven is a four-voice,
triple fugue that uses
all three subjects from
Number Eight but in both
direct and inverted
forms. About 6 minutes in
length.
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9304
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.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (BR.EB-9304).
ISBN 9790004187685. 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. The
corresponding Critical
Commentary is contained
in Volume I/2 (EB
9305).
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.
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.
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.
Piano SKU: BT.EMBZ14898 Piano pieces for practising polyphony. Com...(+)
Piano
SKU:
BT.EMBZ14898
Piano
pieces for practising
polyphony. Composed
by Gyorgy Orban.
Educational Tool. Book
Only. Composed 2014. 152
pages. Editio Musica
Budapest #EMBZ14898.
Published by Editio
Musica Budapest
(BT.EMBZ14898).
English-Hungarian.
Aulos to a certain
degree continues
Orbán's easy piano
pieces for children,
which he composed for
Ãgnes Lakos's piano
tutor and which Editio
Musica Budapest published
in a separate volume
entitled Enchanted Forest
in 2011 (Z. 14742). Yet
on this occasion the
composer took on
something which was both
significantly different
and more than his earlier
pieces for children. On
the one hand, he did not
compose for beginners but
for more advanced
students who have studied
piano for at least three
years. On the other, he
did not set developing
the technique of piano
playing as an aim, rather
a systematic presentation
of different polyphonic
genres and compositional
procedures(imitation,
fugue, stretto,
inversion, augmentation
and diminution, double
counterpoint, latent
polyphony, double and
triple fugue, cantus
firmus technique, etc.).
Orbán introduces his
students to the mysteries
of polyphony in a direct
and practical manner, and
thus actually makes them
familiar with the art of
composition. The
educational use of the
series is significantly
increased by the fact
that before each piece
the composer presents and
clarifies with
demonstrative
illustrations the
polyphonic procedure he
introduces. Orbán's
explanations are not
text-book-like at all,
but are deliberately
personal and subjective,
full of lessons and
individual associations
taken from his practice
as a composer. They were
written in the same
spirit as the works
themselves - while they
perfectly fulfil their
educational purpose they
are equally individual,
witty and inspired pieces
of music that are a joy
to play. The volumes and
the CD are also available
separatly.
Keyboards - Piano Piano Solo SKU: AY.FRD26 Composed by John La Montaine. ...(+)
Keyboards - Piano Piano
Solo
SKU: AY.FRD26
Composed by John La
Montaine. Keyboards -
Piano. Fredonia Press
#FRD26. Published by
Fredonia Press
(AY.FRD26).
ISBN
9790302114628.
John
La Montaine's Fuguing Set
for Piano Solo consists
of seven pieces:
Prologue, Fugue in G,
Pastorale, Fugue in D,
Cadenza, Fugue in C, and
Epilogue. It was
originally composed in
1965. Jocelyn Mackey (Pan
Pipes, music critic):
Amazing contrapuntal
skill. Fuguing Set
explores three different
fugal techniques: the
traditional
tonic-dominant
relationship of subject
and answer, modal
treatment of the subject
and its inversions (all
modes, including the
Locrian appear), and
chromatic procedures. A
Prologue and Epilogue
frame the set, while a
Pastorale and Cadenza
appear between the
fugues. These pieces
appealed immediately to
this reviewer, who feels
that many people who may
not care for contemporary
music will find them more
than satisfying..