Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912005
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Da, Jesu, deinen
Ruhm zu mehren. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Choral Score.
TVWV 1:531a. 2 pages.
Duration 12 minutes.
Carus Verlag #CV
39.120/05. Published by
Carus Verlag
(CA.3912005).
ISBN
9790007055622. Language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score available
separately - see item
CA.3912000.
Composed by Antonio
Salieri. Edited by Otto
Biba. Salve Regina
1000801. Sacred vocal
music. Set of Orchestra
Parts. Carus Verlag #CV
91.012/19. Published by
Carus Verlag
(CA.9101219).
ISBN
9790007145620. Key: B
flat major. Language:
Latin.
This Salve
Regina was originally
intended to be
accompanied by strings
and wind instruments.
However, the wind parts
merely double the strings
and the voices, adding
color but not
indispensable. In our
edition the wind parts
are omitted, so that the
intimate choral texture
is heard to far greater
effect, the strings
providing it with a
sometimes virtuosic
frame. Score and parts
available separately -
see item CA.9101200.
Composed by Antonio
Salieri. Edited by Otto
Biba. Sacred music of the
Vienna classic. Salve
Regina 1000801. Sacred
vocal music. Single Part,
Violin 2. 2 pages. Carus
Verlag #CV 91.012/12.
Published by Carus Verlag
(CA.9101212).
ISBN
9790007230098. Key: B
flat major. Language:
Latin.
This Salve
Regina was originally
intended to be
accompanied by strings
and wind instruments.
However, the wind parts
merely double the strings
and the voices, adding
color but not
indispensable. In our
edition the wind parts
are omitted, so that the
intimate choral texture
is heard to far greater
effect, the strings
providing it with a
sometimes virtuosic
frame. Score and part
available separately -
see item CA.9101200.
Composed by Antonio
Salieri. Edited by Otto
Biba. Sacred music of the
Vienna classic. Salve
Regina 1000801. Sacred
vocal music. Choral
Score. 4 pages. Carus
Verlag #CV 91.012/05.
Published by Carus Verlag
(CA.9101205).
ISBN
9790007113827. Key: B
flat major. Language:
Latin.
This Salve
Regina was originally
intended to be
accompanied by strings
and wind instruments.
However, the wind parts
merely double the strings
and the voices, adding
color but not
indispensable. In our
edition the wind parts
are omitted, so that the
intimate choral texture
is heard to far greater
effect, the strings
providing it with a
sometimes virtuosic
frame. Score available
separately - see item
CA.9101200.
Composed by Antonio
Salieri. Edited by Otto
Biba. Sacred music of the
Vienna classic. Salve
Regina 1000801. Sacred
vocal music. Single Part,
Viola. 2 pages. Carus
Verlag #CV 91.012/13.
Published by Carus Verlag
(CA.9101213).
ISBN
9790007230104. Key: B
flat major. Language:
Latin.
This Salve
Regina was originally
intended to be
accompanied by strings
and wind instruments.
However, the wind parts
merely double the strings
and the voices, adding
color but not
indispensable. In our
edition the wind parts
are omitted, so that the
intimate choral texture
is heard to far greater
effect, the strings
providing it with a
sometimes virtuosic
frame. Score and part
available separately -
see item CA.9101200.
Leipzig
version. Cantata for the
11th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, End of
the church year. Study
score. Composed 1714. BWV
199. 44 pages. Duration
26 minutes. Carus Verlag
#CV 31.199/07. Published
by Carus Verlag
(CA.3119907).
ISBN
9790007165727. Language:
German/English. Text:
Lehms, Georg Christian.
Text by Georg Christian
Lehms.
Bach's
cantata for solo soprano
Mein Herze schwimmt im
Blut was written during
the summer of 1714 for
the Weimar Court service
on the 11th Sunday after
Trinity. The cantata text
by the Darmstadt Court
poet Georg Christian
Lehms (1684-1717), based
on the well-known parable
of the Pharisee and the
publican, takes on
extraordinary potency and
intensity of expression
in Bach's setting. Bach
performed this cantata
several times, in Weimar,
and also during his years
at Cothen aud Leipzig,
meanwhile making various
alterations. Our
publication is based
principally on the
Leipzig version of 1723,
whose instrumentation
includes, in addition to
the solo oboe and the
customary strings and
continuo, a violoncello
piccolo. The appendix to
our edition presents
variants for certain
movements from Bach's
earlier performances,
including a Cothen
version with obbligato
viola da gamba which is
particularly interesting
for present-day practice.
Score available
separately - see item
CA.3119900.
Aus: Matthauspassion
Lasst uns mit Ernst
betrachten. Composed
by Georg Philipp
Telemann. Edited by Felix
Schroeder. Arranged by
Felix Schroeder. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Zerreiss das Herz.
Sacred vocal music, Lent
and Passiontide, Holy
Week. Single Part, Viola.
Composed 1746. TVWV 5:31.
4 pages. Duration 5
minutes. Carus Verlag #CV
39.490/13. Published by
Carus Verlag
(CA.3949013).
ISBN
9790007056216. Language:
German.
This aria
is equally suitable for
use in a service or as
Passion music. The voice
and recorder alternate
with the tutti strings.
The voice part has the
unusually limited range
e1-e2, but it demands
some vocal agility. Score
and part available
separately - see item
CA.3949000.
By Wolfgang Amadeus Mozart. Arranged by Patrick M. Liebergen. For Choir. (3-Par...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Patrick M. Liebergen. For
Choir. (3-Part Mixed).
Choral Octavo. Choral
Designs. Masterwork.
Choral Octavo. 12 pages.
Published by Alfred
Publishing.
By Wolfgang Amadeus Mozart. Arranged by Patrick M. Liebergen. For Choir. (SATB)...(+)
By Wolfgang Amadeus
Mozart. Arranged by
Patrick M. Liebergen. For
Choir. (SATB). Choral
Octavo. Choral Designs.
Masterwork. Choral
Octavo. 12 pages.
Published by Alfred
Publishing. Level:
Level 5 (grade L5).
SATB choir, solo voice & orchestra (3021-0100-00-0-organ-bas so continuo-strings...(+)
SATB choir, solo voice &
orchestra
(3021-0100-00-0-organ-bas
so continuo-strings)
SKU: GH.N01046
Vaknen upp, hor ropet
skallar. Composed by
Johann Sebastian Bach.
Choral score. With
Language: Swedish. 12
pages. Published by
Gehrmans Musikforlag
(GH.N01046).
ISBN
9790070025003. A4 inches.
Text: Biblical / David
Ahlen
(Swedish).
(basso continuo (organ)). By Johann Sebastian Bach (1685-1750). For Soprano Voic...(+)
(basso continuo (organ)).
By Johann Sebastian Bach
(1685-1750). For Soprano
Voice, Flute, Strings
(organ).
Orchester-Bibliothek
(Orchestral Library).
Individual part. 16
pages. Published by
Breitkopf and Haertel
Cantata
for the First Sunday of
Advent. Composed by
Georg Philipp Telemann.
Edited by Ute Poetzsch.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Score. TWV 1.
Baerenreiter Verlag
#BA07677_00. Published by
Baerenreiter Verlag
(BA.BA07677).
ISBN
9790006526192. 30 x 23 cm
inches.
The cantata
Nun komm der Heiden
Heiland (TWV 1:1174) is
taken from
Telemann’s cantata
cycle of 1717–18.
Though festively scored
for two oboes, two
trumpets, kettledrums,
strings and basso
continuo, it will not
overly strain the
financial resources of
today’s
ensembles.
The
well-known chorale tune
features prominantly in
all choruses. Telemann
gives one aria each to
the three soloists (SAB).
Thanks to the relatively
small instrumental
ensemble, the choral
passages can be taken one
to a part. The vocal
score appears with a
singing translation in
English.
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
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).