Concert Band - Grade 4 SKU: ML.013761080 Composed by Guillaume Détrez. F...(+)
Concert Band - Grade 4
SKU: ML.013761080
Composed by Guillaume
Détrez. Full set.
Molenaar Edition
#013761080. Published by
Molenaar Edition
(ML.013761080).
Available from
July
2024
Combining art
and sport, the muscle
with the spirit as Pierre
de Coubertin said, is one
of the foundations of
Olympism. For the Paris
2024 Games, art and sport
will interact and enrich
each other. To ensure
that the Games are open,
participatory, unifying
and inclusive, Paris 2024
is encouraging everyone -
artists, companies,
associations, local
authorities, sports
clubs, etc. - to play a
part in the cultural
programming of the Games.
It is against this
backdrop that the
Confédération Musicale
de France in Hauts de
France has commissioned a
piece from composer
Guillaume
Détrez.
Available
from July 2024
De
combinatie van kunst en
sport, de spier met de
geest zoals Pierre de
Coubertin zei, is een van
de fundamenten van het
Olympisme. Voor de Spelen
van Parijs 2024 zullen
kunst en sport op elkaar
inwerken en elkaar
verrijken. Om ervoor te
zorgen dat de Spelen
open, participatief,
verenigend en inclusief
zijn, moedigt Parijs 2024
iedereen aan -
kunstenaars, bedrijven,
verenigingen, lokale
overheden, sportclubs,
enz. - om een rol te
spelen in de culturele
programmering van de
Spelen. Tegen deze
achtergrond heeft de
Confédération Musicale
de France in Hauts de
France opdracht gegeven
voor een stuk van
componist Guillaume
Détrez.
Available
from July
2024
Associer
l'art et le sport, le
muscle à l'esprit comme
le disait Pierre de
Coubertin, est l'un des
fondements de
l'Olympisme. Pour les
Jeux deParis 2024, l'art
et le sport interagiront
et s'enrichiront
mutuellement. Pour que
les Jeux soient ouverts,
participatifs,
fédérateurs et
inclusifs,Paris 2024
encourage chacun -
artistes, entreprises,
associations,
collectivités locales,
clubs sportifs, etc. - à
s'impliquer dans
laprogrammation
culturelle des Jeux.
C'est dans ce contexte
que la Confédération
Musicale de France de la
région Hauts de France a
commandé une oeuvre au
compositeur Guillaume
Détrez.
Available
from July 2024
Die
Verbindung von Kunst und
Sport, der Muskel mit dem
Geist, wie Pierre de
Coubertin sagte, ist eine
der Grundlagen des
Olympismus. Bei den
Spielen von Paris 2024
werden Kunst und Sport
zusammenwirken und sich
gegenseitig bereichern.
Damit die Spiele offen,
partizipativ, verbindend
und integrativ sind,
fordert Paris 2024 alle
auf - Künstler,
Unternehmen, Verbände,
lokale Behörden,
Sportvereine usw. - dazu
auf, sich an der
kulturellen Gestaltung
der Spiele zu beteiligen.
Vor diesem Hintergrund
hat die Confédération
Musicale de France in
Hauts de France ein
Stück bei dem
Komponisten Guillaume
Détrez in Auftrag
gegeben.
L'Apprenti Sorcier Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Baton Music
(The Sorcerer's Apprentice). By Paul Dukas (1865-1935). Arranged by Marco Tamani...(+)
(The Sorcerer's
Apprentice). By Paul
Dukas (1865-1935).
Arranged by Marco
Tamanini. For Concert
Band. Grade 6. Full score
and set of parts.
Duration 10:30
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
Edition de 1611. By Robert Ballard. Edited by Francois-Pierre Goy, Pascale Bocqu...(+)
Edition de 1611. By
Robert Ballard. Edited by
Francois-Pierre Goy,
Pascale Bocquet. Luth
seul. For Lute.
Facsimiles. Collection
Dominantes. Level: Grade
0. 127 pages. Published
by Editions Fuzeau
Classique - France
(French import).
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
Violin and continuo SKU: FZ.50527 Composed by Simon Le Duc. Edited by Dep...(+)
Violin and continuo
SKU: FZ.50527
Composed by Simon Le Duc.
Edited by Department De
Musique Ancienne Du
C.N.S.M De Paris. This
edition: Facsimile. La
Musique Francaise
Classique de 1650 a 1800.
Score. Published by Anne
Fuzeau Productions -
France (FZ.50527).
ISBN 9790049505277.
22.00 x 30.00 cm
inches.
This
facsimile of an original
by Simon Le Duc is part
of our French classical
music collection. Second
livre de sonates pour le
violon (avec basse
continue) - Oeuvre IV.
Edition : Paris, Le Duc,
s. d. (=c. 1771).
Presentation: Saskia
Salembier - Departement
de musique ancienne
Conservatoire National
Superieur de Musique et
de Danse de Paris. This
book contains some of the
most beautiful sonatas
for violin and continuo
from the end of the
XVIIIth century. All
violinists should be
familiar with them. In
addition, they are
excellent for the study
of late XVIIIth century
ornamentation. Quality
engraving, very legible.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the British
Library of London
(England). Anne Fuzeau
Classique propose period
copies of classical music
scores.
Dem
Weihnachtslied
Cantique de
Noël von Adolphe
Charles Adam aus dem 19.
Jahrhundert wurde zu
seiner Entstehungszeit
von Kirchenoberen einen
Mangel an gutem Geschmack
und das Fehlen von
religiösem Empfinden
bescheinigt. Doch sie
irrten sich: Das Lied ist
auf der ganzen Welt
beliebt und wird noch
immer oft gesungen - auch
in Kirchen. Roland Kernen
legt hier eine
wunderschöne Version
für Brass Band vor.
Dem
Weihnachtslied
Cantique de
Noël von Adolphe
Charles Adam aus dem 19.
Jahrhundert wurde zu
seiner Entstehungszeit
von Kirchenoberen einen
Mangel an gutem Geschmack
und das Fehlen von
religiösem Empfinden
bescheinigt. Doch sie
irrten sich: Das Lied ist
auf der ganzen Welt
beliebt und wird noch
immer oft gesungen - auch
in Kirchen. Roland Kernen
legt hier eine
wunderschöne Version
für Brass Band vor.
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?<
/p>
MUSICOLOGICA
LLY 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
World
premiere: Paris (Festival
,,Presences), February
13, 2017 (Quatuor
Diotima)Commissioned by
Radio France
New
music (post-2000); Music
post-1945. Score.
Composed 2016/17. 12
pages. Duration 12'.
Breitkopf and Haertel #EB
9255. Published by
Breitkopf and Haertel
(BR.EB-9255).
ISBN
9790004185551. 9 x 12
inches.
C'est apres
un entretien avec le
Professeur Yuji Ikegaya
concernant ses recherches
en neurologie que j'ai
voulu travailler sur
quelques particularites
fonctionnelles du cerveau
humain. Quatre de ces
specificites ont retenu
mon attention. La
premiere est ce qui est
de l'ordre de l'autonomie
ou de l'independance. En
effet, alors qu'aucune
stimulation exterieure
n'ait lieu, le cerveau
humain montre des
activites spontanees qui
s'expriment sous forme de
patterns fixes. La
seconde est le principe
d'<> des
gestes ou des phrases
avec le fonctionnement
des neurones miroirs :
l'homme apprend en
imitant les gestes des
autres, c'est la source
d'emotions comme la
compassion ou la
sympathie. La troisieme
est liee a
l'apprentissage spontane
et l'auto-renouvellement
du cerveau, faculte qui
le differencie
singulierement de
l'ordinateur. Enfin la
conscience du <>,
qui est ce qui le
differencie du cerveau de
l'animal. J'ai trouve
dans la forme classique
et austere du quatuor un
terrain d'exploration
ideal pour elaborer ce
projet musical. Le
quatuor est en effet
compose des quatre
cerveaux des musiciens,
mais il est egalement une
entite a part entiere, un
centre nevralgique
unitaire. L'ecriture
musicale procede ainsi
par imitation, sur une
base de patterns qui
varie constamment dans
une quete identitaire et
dans son rapport a
l'autre et aux autres
(musiciens). L'autre,
c'est egalement
l'autiste, celui qui
n'arrive pas bien a
imiter et a comprendre
les expressions, emotions
et gestes exterieurs. La
question des rapports
devient alors celle de la
dependance, de
l'independance et/ou de
l'interdependance. Elle
est au centre de mon
processus compositionnel
qui, par l'organisation
et la sonification des
comportements aux
differentes voix du
quatuor, est egalement un
moyen de me questionner
en tant que compositrice,
sur mon identite et sur
mon propre rapport au
monde. (Misato
Mochizuki)
World
premiere: Paris (Festival
,,Presences), February
13, 2017 (Quatuor
Diotima) Commissioned by
Radio France.
Clarinet and Piano SKU: BT.ALHE31564 Composed by Darius Milhaud. Classica...(+)
Clarinet and Piano
SKU: BT.ALHE31564
Composed by Darius
Milhaud. Classical. Book
Only. 16 pages. Heugel &
Cie #ALHE31564. Published
by Heugel & Cie
(BT.ALHE31564).
French.
Duo
Concertante, Op. 351 by
Darius Milhaud was
composed in 1956 for the
Paris Conservatoire
Contest. Many influences
can be recognised in this
piece: from the Provence
where he was born, to
jazz and other melodies
of SouthAmerica. Lasting
approximately 7 minutes,
Duo Concertante, Op. 351
is started by a fanfare
with a strong energy
reminiscent of the South
of France, followed by a
simple and moderate
clarinet partly joined by
piano chords. Theinitial
theme is then repeated
one last time for the
finale. Darius Milhaud
(1892-1974) was a French
modernist composer and a
teacher. He was also part
of the Les Six and was
strongly influenced by
Jazz. His opus list ended
at443.
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Walter Bergmann.
Choir; stapled. Eulenburg
Orchestral Series.
Renaissance/early
Baroque; Baroque. Part.
20 pages. Duration 20'.
Breitkopf and Haertel
#EOS 1062-12. Published
by Breitkopf and Haertel
(BR.EOS-1062-12).
ISBN
9790004785621. 8.5 x 11.5
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).
Chorus (with soloists) and piano (solos: SSATB - choir: SATB - str - bc(hps)) (+)
Chorus (with soloists)
and piano (solos: SSATB -
choir: SATB - str -
bc(hps))
SKU:
BR.ED-22869
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Jorg Abbing. Choir;
stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 20
pages. Duration 20'.
Breitkopf and Haertel #ED
22869. Published by
Breitkopf and Haertel
(BR.ED-22869).
ISBN
9790001167376. 9 x 12
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Walter Bergmann.
Choir; folded. Eulenburg
Orchestral Series.
Renaissance/early
Baroque; Baroque. Part. 4
pages. Duration 20'.
Breitkopf and Haertel
#EOS 1062-15. Published
by Breitkopf and Haertel
(BR.EOS-1062-15).
ISBN
9790004785638. 8.5 x 11.5
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Walter Bergmann.
Choir; folded. Eulenburg
Orchestral Series.
Renaissance/early
Baroque; Baroque. Part. 4
pages. Duration 20'.
Breitkopf and Haertel
#EOS 1062-16. Published
by Breitkopf and Haertel
(BR.EOS-1062-16).
ISBN
9790004785645. 8.5 x 11.5
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).
Welcome to All the
Pleasures. Composed
by Henry Purcell. Edited
by Walter Bergmann.
Choir; stapled. Eulenburg
Orchestral Series.
Renaissance/early
Baroque; Baroque. Part. 4
pages. Duration 20'.
Breitkopf and Haertel
#EOS 1062-19. Published
by Breitkopf and Haertel
(BR.EOS-1062-19).
ISBN
9790004785652. 8.5 x 11.5
inches.
The present
ode was the first of many
commissioned ,The Musical
Society' for the annual
celebration of St.
Cecilia's Day (November
22nd). It was obviously a
great success, for the
ode was printed in score
in 1684 and the Society
had to move for the 1684
celebrations to a later
hall, the Stationer's
Hall. The ode of 1683
shows Purcell's ingenuity
in every aspect and set a
high standard for all the
other composers who
followed him among them
Blow and Handel. The
present edition has the
above mentioned print of
1684 as source. Title
page dedication and the
first and last pages are
here reprinted in
facsimile. The few
obvious misprints in the
original have been
corrected. Editiorial
additions are in
brackets. (Walter
Bergmann) Die einzige
bekannte Quelle befindet
sich in Heft 66 von Band
25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier).