Cantata for
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas,
Epiphany. Study score.
BWV 123. 44 pages.
Duration 22 minutes.
Carus Verlag #CV
31.123/07. Published by
Carus Verlag
(CA.3112307).
ISBN
9790007166748. Language:
German/English. Text:
Fritsch, Ahasverus. Text
by Ahasverus
Fritsch.
This
six-movement cantata uses
the hymn of the same name
by Ahasverus Fritsch,
first recorded in 1698 in
the Darmstadter
Liederbuch. This places
it amongst those chorale
cantatas which use a hymn
from the repertoire
associated with Pietism.
As was customary, the
hymn text is retained in
the outer movements,
whereas the text for the
inner movements - two
secco recitatives and a
tenor and a bass aria -
are concerned with the
contrast between the
hostile world and the
certainty of Jesus; the
links between the cantata
text and the Feast of the
Epiphany are
correspondingly tenuous.
In the first movement the
soprano sings the hymn
melody complete,
accompanied by mainly
homophonic vocal parts,
whilst the instrumental
writing is largely
influenced by the melody
of the first line of the
hymn. Remarkable is the
tenor aria, with its
contrasting central
section and its chromatic
twists and turns, in
which Bach once again
proves himself to be a
master of harmony. The
demands on the chorus are
fairly modest, whereas
the instrumentalists are
challenged in the first
movement and in both the
arias. Score available
separately - see item
CA.3112300.
Cantata for
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Viola. BWV 123. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.123/13. Published by
Carus Verlag
(CA.3112313).
ISBN
9790007207496. Text
language: German/English.
Text: Fritsch,
Ahasverus.
This
six-movement cantata uses
the hymn of the same name
by Ahasverus Fritsch,
first recorded in 1698 in
the Darmstadter
Liederbuch. This places
it amongst those chorale
cantatas which use a hymn
from the repertoire
associated with Pietism.
As was customary, the
hymn text is retained in
the outer movements,
whereas the text for the
inner movements - two
secco recitatives and a
tenor and a bass aria -
are concerned with the
contrast between the
hostile world and the
certainty of Jesus; the
links between the cantata
text and the Feast of the
Epiphany are
correspondingly tenuous.
In the first movement the
soprano sings the hymn
melody complete,
accompanied by mainly
homophonic vocal parts,
whilst the instrumental
writing is largely
influenced by the melody
of the first line of the
hymn. Remarkable is the
tenor aria, with its
contrasting central
section and its chromatic
twists and turns, in
which Bach once again
proves himself to be a
master of harmony. The
demands on the chorus are
fairly modest, whereas
the instrumentalists are
challenged in the first
movement and in both the
arias. Score and part
available separately -
see item CA.3112300.
Cantata for
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Epiphany.
Single Part, Violin 1.
BWV 123. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.123/11. Published by
Carus Verlag
(CA.3112311).
ISBN
9790007207472. Text
language: German/English.
Text: Fritsch,
Ahasverus.
This
six-movement cantata uses
the hymn of the same name
by Ahasverus Fritsch,
first recorded in 1698 in
the Darmstadter
Liederbuch. This places
it amongst those chorale
cantatas which use a hymn
from the repertoire
associated with Pietism.
As was customary, the
hymn text is retained in
the outer movements,
whereas the text for the
inner movements - two
secco recitatives and a
tenor and a bass aria -
are concerned with the
contrast between the
hostile world and the
certainty of Jesus; the
links between the cantata
text and the Feast of the
Epiphany are
correspondingly tenuous.
In the first movement the
soprano sings the hymn
melody complete,
accompanied by mainly
homophonic vocal parts,
whilst the instrumental
writing is largely
influenced by the melody
of the first line of the
hymn. Remarkable is the
tenor aria, with its
contrasting central
section and its chromatic
twists and turns, in
which Bach once again
proves himself to be a
master of harmony. The
demands on the chorus are
fairly modest, whereas
the instrumentalists are
challenged in the first
movement and in both the
arias. Score and part
available separately -
see item CA.3112300.
(Soprano/SATB/Ensemble (English and Latin)). By Karl Jenkins. For Mixed Choir (V...(+)
(Soprano/SATB/Ensemble
(English and Latin)). By
Karl Jenkins. For Mixed
Choir (Vocal Score). BH
Large Choral. Softcover.
140 pages. Boosey and
Hawkes #M060124341.
Published by Boosey and
Hawkes
Soli ATB, SATB Choir, 2 Fl, 2 Obda, 2 Vl, Va, Bc SKU: CA.3112309 Canta...(+)
Soli ATB, SATB Choir, 2
Fl, 2 Obda, 2 Vl, Va, Bc
SKU: CA.3112309
Cantata for
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
1x 31.123/21 flute 1, 1x
31.123/22 flute 2, 1x
31.123/23 oboe d'amore 1,
1x 31.123/24 oboe d'amore
2. Stuttgart Urtext
Edition: Bach vocal.
Harmony parts. Sacred
vocal music, Cantatas,
Epiphany. Set of
Orchestra Parts. BWV 123.
Duration 22 minutes.
Carus Verlag #CV
31.123/09. Published by
Carus Verlag
(CA.3112309).
ISBN
9790007207465. Language:
German/English. Text:
Fritsch,
Ahasverus.
This
six-movement cantata uses
the hymn of the same name
by Ahasverus Fritsch,
first recorded in 1698 in
the Darmstadter
Liederbuch. This places
it amongst those chorale
cantatas which use a hymn
from the repertoire
associated with Pietism.
As was customary, the
hymn text is retained in
the outer movements,
whereas the text for the
inner movements - two
secco recitatives and a
tenor and a bass aria -
are concerned with the
contrast between the
hostile world and the
certainty of Jesus; the
links between the cantata
text and the Feast of the
Epiphany are
correspondingly tenuous.
In the first movement the
soprano sings the hymn
melody complete,
accompanied by mainly
homophonic vocal parts,
whilst the instrumental
writing is largely
influenced by the melody
of the first line of the
hymn. Remarkable is the
tenor aria, with its
contrasting central
section and its chromatic
twists and turns, in
which Bach once again
proves himself to be a
master of harmony. The
demands on the chorus are
fairly modest, whereas
the instrumentalists are
challenged in the first
movement and in both the
arias. Score and parts
available separately -
see item CA.3112300.
Piano seul [Partition + CD] - Débutant Alfred Publishing
Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Mort...(+)
Alfred's Basic Adult
Piano Course Lesson Book,
Book 1 by Willard A.
Palmer, Morton Manus, and
Amanda Vick Lethco. For
Piano.
Method/Instruction; Piano
- Alfred's Basic Adult
Piano Course. Alfred's
Basic Adult Piano Course.
Book and CD. 112 pages.
Published by Alfred Music
Publishing
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str)
SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07).
ISBN
9790004208557. 9 x 12
inches.
Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Composed by Johann
Pachelbel. Edited by
Wolfgang Hirschmann. This
edition: Edition of
selected works, Urtext
edition. Linen. Johann
Pachelbel. Complete Vocal
Works, Volume 10. Edition
of selected works, Score,
anthology. Baerenreiter
Verlag #BA10560_00.
Published by Baerenreiter
Verlag (BA.BA10560).
ISBN 9790006553099. 33
x 26 cm inches. Language:
German/English. Preface:
Hirschmann, Wolfgang /
Paech, Katharina Larissa
/ Röder,
Thomas.
The
Complete Vocal Works
Johann Pachelbel is known
today as a composer of
organ music and of a
world-famous instrumental
canon which frequently
features in concert
programmes and recording
catalogues. However, the
same can be said of only
a few of his vocal
compositions. At most,
the motets appear
occasionally in church
music repertoire.
Pachelbel’s arias,
vocal concerti and
large-scale Magnificats
have received little
attention up to now.
Church musicians and
musicologists have long
wished for a critical
edition of these
important works, which
survive in
Pachelbel’s
manuscript and were
largely composed in his
main places of work,
Erfurt and Nuremberg . As
always with such
ventures, new discoveries
are to be expected
regarding the body of
works, source material
and the context of the
works. This concerns not
only beautiful music, but
rather a deepening of our
understanding of
Pachelbel as a key figure
between southern and
central German
traditions, and the
recognition of an oeuvre
which has all too often
been pushed into the
shadows by the mighty
Bach.
The
Critical Edition
The edition aims to make
available all of Johann
Pachelbel’s
surviving vocal works in
the best possible form.
It is edited by the
Institut für
Musikwissenschaft at the
University of
Erlangen-Nuremberg and
the Institut für
Kirchenmusik at the
Kunstuniversität
Graz.
Two
volumes per year are
planned.
As a
chronological order is
not possible in many
cases, the individual
works have been arranged
according to scoring
within their groups.
Fragments and works where
Johann Pachelbel’s
authorship is doubtful
appear at the end of the
respective group.
Each volume includes
an introduction (Ger/Eng)
and a Critical Commentary
(Ger). Format 25.5 x 32.5
cm; cloth-bound
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
Tuba SKU: HL.841331 Book/Online Audio. Edited by Linda Rutherford....(+)
Tuba
SKU:
HL.841331
Book/Online Audio.
Edited by Linda
Rutherford. Master Solos.
Technique, Classical and
Play Along. Softcover
Audio Online. With
introductory text,
instructional text,
illustrations, fingering
chart, musical examples,
solo parts, piano
accompaniment and
accompaniment CD. 32
pages. Published by Hal
Leonard (HL.841331).
ISBN 9780793595556.
UPC: 073999593716. 9x12
inches. Book/Online
Audio.
Master Solos
book/online audio packs
are a fresh source of
solo literature in a
comprehensive package for
developing
instrumentalists. The
collections for the
various instruments were
personally selected and
performed by world-famous
performing artists and
educators (see below),
and each features a
specially prepared
lesson. Every Master
Solos pack includes 8
selections by renowned
composers â?? different
for each instrument â??
and a piano accompaniment
book. The accompanying
audio is uniquely
designed to serve in
practice and performance
situations, and offer
immeasurable benefits for
the intermediate soloist
and for the instrumental
instructor. The first
track features the solo
performance with piano
accompaniment providing
tempo and musical style,
and the second track is
the piano accompaniment
only, designed for
rehearsal. The recorded
accompaniment can also be
used in performances.
Flute by Gary Sigurdson,
Oboe by Don Jaeger,
Bassoon by Leonard
Sharrow, Bb Clarinet by
Ramon Kireilis, Eb Alto
Saxophone by Larry Teal,
Bb Trumpet/Cornet by
Robert Getchell, Horn by
Louis Stout, Trombone by
Buddy Baker, Baritone
Horn by Larry Campbell,
Tuba by Daniel Perantoni,
Percussion by Peter
Magadini. All books
edited by Linda
Rutherford. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
SKU: HL.49046509 Learn Guitar with the Greatest Rock Hits. Guitar....(+)
SKU: HL.49046509
Learn Guitar with the
Greatest Rock Hits.
Guitar. Softcover Audio
Online. Schott Music
#ED23284. Published by
Schott Music
(HL.49046509).
ISBN
9783795719685. UPC:
840126936476.
The
guitar method Rock's Cool
Guitar teaches the basics
of playing the electric
guitar by means of eight
well-known rock classics.
The book comes with video
tutorials for most of the
exercises, thus
establishing a
comprehensive didactic
symbiosis with the
Internet (blended
learning). The
arrangements are
available to the student
online at various speeds
for practicing. In Rock's
Cool Guitar Vol. 2, you
will get to the heart of
your rhythm with the
greatest rock hits from
Green Day, Nirvana and
many more, and also
experience an
introduction to the world
of guitar solos. All
major techniques such as
hammer on, pull off,
bending, slides and
phrasing are explained,
using the original solos.
You will get an insight
into the structure of the
fretboard and learn how
to finger and use barre
chords correctly - and
you are ready for the
stage! The also available
volumes Rock's Cool Bass
and Rock's Cool Drums
make the method perfect
for use in school and
music school bands.
Little Fugue [Conducteur et Parties séparées] Eighth Note Publications
(For Double Reed Ensemble). By Johann Sebastian Bach (1685-1750). Arranged by Da...(+)
(For Double Reed
Ensemble). By Johann
Sebastian Bach
(1685-1750). Arranged by
David Marlatt. For For
Double Reed Ensemble.
Masterworks; Part(s);
Score; Woodwind - Mixed
Ensemble. Eighth Note
Publications. Form:
Fugue. Baroque;
Masterwork Arrangement.
16 pages. Published by
Eighth Note Publications
Composed by Various. Edited by Linda Rutherford. Arranged by Gary Sigurdson. Mas...(+)
Composed by Various.
Edited by Linda
Rutherford. Arranged by
Gary Sigurdson. Master
Solos. Play Along.
Softcover Audio Online.
44 pages. Published by
Hal Leonard