Sonate
pour la Clarinette avec
accompagnement de 2
Violons, Alto and
Violoncelle.
Erstausgabe. Composed
by Giacomo Meyerbeer.
Edited by Dieter
Klöcker. This edition:
urtext edition. Stapled.
Barenreiter Urtext. First
edition. Score, Set of
parts. Duration 13
minutes. Baerenreiter
Verlag #BA08731.
Published by Baerenreiter
Verlag (BA.BA08731).
ISBN 9790006506194. 30
x 23 cm inches. Key:
E-flat major.
This
scholarly-critical volume
is the first published
edition of Meyerbeer's
Clarinet Quintet, which
vanished in World War ll
and only recently
resurfaced in the estate
of the clarinetist Carl
Bärmann. Meyerbeer
wrote the piece in Vienna
in 1813 for his friend
Heinrich Bärmann, a
celebrated clarinettist
to whom C. M. von Weber
also dedicated several
works. The extremely
novel and virtuoso
handling of the clarinet
was unusual for its day:
Meyerbeer allows it to
stand out clearly from
the string ensemble and
pushes it to the utmost
limits of its technique.
The Work enriched the
meager chamber music
repertoire for the
clarinet in the 19th
century. Our
scholarly-critical
edition makes this
masterpiece available to
performers for the first
time in print. Besides
the musical text, it
offers a critical report
and a detailed preface
discussing the work's
genesis. The parts have
been given performance
markings by Dieter
Klöcker.
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
Mixed choir (SATB) and Generalbass (organ, double bass, cello and bassoon) SK...(+)
Mixed choir (SATB) and
Generalbass (organ,
double bass, cello and
bassoon)
SKU:
HL.49044087
Sleepers Wake.
Composed by Carl
Friedrich Zelter. Edited
by Hermann Max. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Softcover. 12 pages.
Schott Music #ED21773-10.
Published by Schott Music
(HL.49044087).
ISBN
9790001196963.
German.
With Carl
Friedrich Zelter's motet
Wachet auf, ruft uns die
Stimme, Hermann Max,
editor of the Choral
Treasury series, has
uncovered a real
treasure. The three-verse
text of the motet for
mixed choir (SATB) and
basso continuo was
written by Friedrich
Gottlob Klopstock who
kept close to the Advent
song of the same name by
Philipp Nicolai. During
Zelter's lifetime, the
motet enjoyed great
popularity. And quite
rightly so: For the music
teacher and friend of
Goethe turned out to be a
composer with an
extraordinary sense of
tone. An introductory
choral movement is
followed by a captivating
bass aria which can be
optionally sung by all
basses of the choir. The
piece culminates in an
elaborate virtuoso fugue
with an interwoven cantus
firmus in the bass. A
demanding, yet highly
rewarding rarity in
church music!
(for Oboe and Chamber Ensemble Full Score and Solo Oboe Part). By Michael Daughe...(+)
(for Oboe and Chamber
Ensemble Full Score and
Solo Oboe Part). By
Michael Daugherty
(1954-). For Oboe,
Chamber Ensemble.
Peermusic Classical. 72
pages. Peermusic
#62086-326. Published by
Peermusic
First Leipzig version.
Cantata for Palm Sunday
and the feast of the
Annunciation Cantata for
Palm Sunday and the feast
of the Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Himmelskonig,
Sei Willkommen G-Dur.
Sacred vocal music,
Cantatas, Lent and
Passiontide. Study score.
BWV 182. 60 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/57. Published by
Carus Verlag
(CA.3118257).
ISBN
9790007142872. Key: G
major. Text language:
German/English.
Ver
sion in G major (A major
= Carus 31.182/00) The
cantata Himmelskonig, sei
willkommen BWV 182 holds
a special place in Johann
Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200.
Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: paperbound. BWV
182. Sacred vocal music,
Cantatas, Lent and
Passiontide, Holy Week,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Study score.
Composed 1714. BWV 182.
Duration 30 minutes.
Carus Verlag #CV
31.182/07. Published by
Carus Verlag
(CA.3118207).
ISBN
9790007050276. Key: A
major. Language:
German/English. Text:
Franck,
Salomo.
Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200.
Violoncello - Level 5 SKU: BA.BA11043 A Song without Words for Violonc...(+)
Violoncello - Level 5
SKU: BA.BA11043
A Song without Words
for Violoncello Solo.
Composed by Manfred
Trojahn. Stapled.
Performance score.
Composed 2012. 4 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA11043_00. Published by
Baerenreiter Verlag
(BA.BA11043).
ISBN
9790006543229. 33.5 x
25.5 cm
inches.
Manfred
Trojahn on the origin and
title of his impressive
virtuoso solo
work: Admittedly I do
not know if he had
seagulls, but since
Mendelssohn was born in
Hamburg, he will not have
gone through life without
at least the impression
of the cry of seagulls.
Nor do I know if seagulls
played any part in his
life in Rome. I myself
was astonished when, one
or two years ago in the
Villa Massimo, I was, not
exactly annoyed but
disturbed by the strong
rhythmical cry of
seagulls. I was just
about to write a bassoon
solo when the seagulls
started. Then the
idea came to me that
precisely this sequence
of notes could serve as
the basis of the work.
And the sequence for the
bassoon solo is, in turn,
the basis of the piece
for violoncello - this is
how titles are born... Of
course the violoncello
meanders with virtuosic
ease from the seagull
motif to the 'elf-like'
skittering brought to
music by Mendelssohn and
used time and again in
his compositions, finally
becoming a cabaletta.
Now, cabalettas are not
very representative of
Mendelssohn, but as I was
composing I definitely
wanted to put a cabaletta
in this passage. I am
sure Mendelssohn and I
will easily agree on
this, especially since
later justice is done to
him in the rapid passages
and, of course in the
tonal cadenza at the very
end, which is more
indicative of his time
than of mine ... isn't
it?
Mixed choir (SATB) and Generalbass (organ, double bass, cello and bassoon) SK...(+)
Mixed choir (SATB) and
Generalbass (organ,
double bass, cello and
bassoon)
SKU:
HL.49044056
Sleepers Wake.
Composed by Carl
Friedrich Zelter. Edited
by Hermann Max. This
edition: Saddle
stitching. Sheet music.
Choral. Softcover. 32
pages. Schott Music
#ED21773. Published by
Schott Music
(HL.49044056).
ISBN
9790001196208.
9.0x12.0x0.123 inches.
German.
With Carl
Friedrich Zelter's motet
Wachet auf, ruft uns die
Stimme, Hermann Max,
editor of the Choral
Treasury series, has
uncovered a real
treasure. The three-verse
text of the motet for
mixed choir (SATB) and
basso continuo was
written by Friedrich
Gottlob Klopstock who
kept close to the Advent
song of the same name by
Philipp Nicolai. During
Zelter's lifetime, the
motet enjoyed great
popularity. And quite
rightly so: For the music
teacher and friend of
Goethe turned out to be a
composer with an
extraordinary sense of
tone. An introductory
choral movement is
followed by a captivating
bass aria which can be
optionally sung by all
basses of the choir. The
piece culminates in an
elaborate virtuoso fugue
with an interwoven cantus
firmus in the bass. A
demanding, yet highly
rewarding rarity in
church music!
First Leipzig version.
Cantata for Palm Sunday
and the feast of the
Annunciation Cantata for
Palm Sunday and the feast
of the Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Himmelskonig,
Sei Willkommen G-Dur.
Sacred vocal music,
Cantatas, Lent and
Passiontide. Choral
Score. BWV 182. 12 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/55. Published by
Carus Verlag
(CA.3118255).
ISBN
9790007209865. Key: G
major. Text language:
German/English.
Ver
sion in G major (A major
= Carus 31.182/00) The
cantata Himmelskonig, sei
willkommen BWV 182 holds
a special place in Johann
Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score
available separately -
see item CA.3118200.
Violin and cello SKU: IM.3749 Composed by Bernhard Romberg. Edited by Pat...(+)
Violin and cello
SKU:
IM.3749
Composed by
Bernhard Romberg. Edited
by Patrick Jee Nanae
Iwata. Set of parts.
International Music Co.
#3749. Published by
International Music Co.
(IM.3749).
Virtuoso
showpiece and suite on
three of MozartaEUR(tm)s
most celebrated
melodies. Contents:
Se vuol ballare (The
Marriage of Figaro), Bei
MaI^nnern, welche Liebe
fuhlen (The Magic Flute),
Ein MaI^dchen oder
Weibchen (The Magic
Flute).
Quartet No. 6 [Conducteur et Parties séparées] Rosewood Publications
By P. Bottesini. For violin, clarinet, guitar and cello (with piano reduction). ...(+)
By P. Bottesini. For
violin, clarinet, guitar
and cello (with piano
reduction). Winds and
Strings. Unique
combination. First
Edition. Classical. Score
and set of parts.
Published by Rosewood
Publications
Oboe quartet in C major Hautbois, Violin, Alto et Violoncelle (Quatuor) [Conducteur et Parties séparées] Edition HH
By Alessandro Rolla (1757-1841). Edited by Michael Elphinstone. For Oboe, violin...(+)
By Alessandro Rolla
(1757-1841). Edited by
Michael Elphinstone. For
Oboe, violin, viola,
cello. Full score and
parts. 8 3x4(ix) pages.
Published by Edition HH
Music Publishers
Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.PB-1...(+)
Violin and orchestra
(solo: vl - 2.2.2.2 -
4.2.0.0 - timp - str)
SKU: BR.PB-15132
Urtext. Composed
by Max Bruch. Edited by
Michael Kube. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Romantic; Late-romantic.
Full score. 84 pages.
Duration 25'. Breitkopf
and Haertel #PB 15132.
Published by Breitkopf
and Haertel
(BR.PB-15132).
ISBN
9790004214688. 10 x 12.5
inches.
Bruch's
evergreen for the first
time in UrtextThanks to
the premiere performance
by Joseph Joachim and to
the release of the
printed edition in 1868,
Max Bruch's Violin
Concerto no. 1 zipped
onto the road to success
and has never left it
since. Yet from the
preface of the
BreitkopfUrtext
edition,one can infer how
things looked like behind
the dazzling facade.
After the world premiere,
the composer struggled
for the definitive form.
He wrote 3, 4 development
sections in the finale,
and sought the advice of
celebrated virtuosi such
as Joseph Joachim and
Ferdinand David to revise
the solo part. And after
all this was done (see
above), Bruch suffered
under the work's
popularity: Have I
written nothing but this
one concerto?The new
Urtext edition is based
primarily on the first
edition. Next to the main
source and the autograph,
what is supremely
interesting is a solo
part with entries by
Joachim and Bruch. It
confirms how intensively
the two men collaborated
on honing the final form
of the work.
Violin and orchestra (solo: vl - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.PB-1...(+)
Violin and orchestra
(solo: vl - 2.2.2.2 -
4.2.0.0 - timp - str)
SKU:
BR.PB-15133-07
Urtext. Composed
by Max Bruch. Edited by
Michael Kube. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
In
Cooperation with
G. Henle Verlag
Solo concerto; Romantic;
Late-romantic. Study
Score. 84 pages. Duration
25'. Breitkopf and
Haertel #PB 15133-07.
Published by Breitkopf
and Haertel
(BR.PB-15133-07).
ISBN
9790004214695. 6.5 x 9
inches.
Bruch's
evergreen for the first
time in UrtextThanks to
the premiere performance
by Joseph Joachim and to
the release of the
printed edition in 1868,
Max Bruch's Violin
Concerto no. 1 zipped
onto the road to success
and has never left it
since. Yet from the
preface of the
BreitkopfUrtext
edition,one can infer how
things looked like behind
the dazzling facade.
After the world premiere,
the composer struggled
for the definitive form.
He wrote 3, 4 development
sections in the finale,
and sought the advice of
celebrated virtuosi such
as Joseph Joachim and
Ferdinand David to revise
the solo part. And after
all this was done (see
above), Bruch suffered
under the work's
popularity: Have I
written nothing but this
one concerto?The new
Urtext edition is based
primarily on the first
edition. Next to the main
source and the autograph,
what is supremely
interesting is a solo
part with entries by
Joachim and Bruch. It
confirms how intensively
the two men collaborated
on honing the final form
of the work.
Chamber Music Cello,
Piano, Viola, Violin,
Violin 1, Violin 2
SKU: PR.144407570
Composed by Ellen Taaffe
Zwilich. Set of Score and
Parts.
64+12+12+12+12+12+12
pages. Duration 24
minutes. Merion Music
#144-40757. Published by
Merion Music
(PR.144407570).
ISBN
9781491136522. UPC:
680160689330.
Ellen
Taaffe Zwilich’s
Septet is the first major
work written for this
combination of
instruments, and the
pioneering process was
greatly enjoyed by the
composer: “While
the instrumentation of
the Septet provides an
almost orchestral
palette, and it was
interesting to explore
that, I love the idea of
seven artist-performers,
each of whom can be a
stunning virtuoso one
moment and a thoughtful
partner the next, and I
relish the electricity
that results from those
shifting roles.â€
Septet was written for
the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet, to whom
it is dedicated. String
parts available on
rental. For advanced
ensembles. Duration:
24’. Writing
music is a labor of love
for me. My greatest
joy is writing for
performers whom I can be
sure will not only
deliver the notes
accurately, but will
project the meaning
behind the notes. To
have performers in the
wings who will bring
their own imagination and
deep understanding to a
performance is an
inspiration to me. So
I approached the writing
of my Septet for the
Kalichstein-Laredo-Robins
on Trio and the Miami
String Quartet with great
anticipation and
pleasure.The fact that
there is no model for
such a Septet made the
pre-composition process a
most enjoyable
exploration. I liked
the idea of having two
strong ensemble
personalities in the mix,
and I thought that there
must be some sort of
challenging interchange
at the outset. The
first movement,
“Introductions,â
(note the plural)
starts with the piano
trio throwing down the
gauntlet and the string
quartet entering quietly,
but gradually (almost one
by one) joining with the
trio to make a true
septet with multi-faceted
relations. The second
movement, “Quasi
una Passacaglia,â€
is based on a repeated
phrase pattern. Part
of the formal design is a
contrast between
“Baroqueâ€
style performance and
modern, more romantic
ways of playing.Â
“Games,†the
third movement, involves
much playful interplay
and the fourth movement,
“Au revoir,â€
offers both reminiscence
and farewell – not
“good-bye,â€
but “until we meet
again.â€Throughout
the piece, two of my
persistent fascinations
are explored: firstly, my
interest in designing
initial material that can
evolve into large-scale
form, and secondly, the
pleasure I take in
chamber music. While
the instrumentation of
the Septet provides an
almost orchestral palette
and it was interesting to
explore that, I love the
idea of 7
artist-performers, each
of whom can be a stunning
virtuoso one moment and a
thoughtful partner the
next, and I relish the
electricity that results
form those shifting
roles.
Third Face Quatuor à cordes: 2 violons, alto, violoncelle - Avancé Theodore Presser Co.
Chamber Music String Quartet - Advanced SKU: PR.144405300 Composed by Dav...(+)
Chamber Music String
Quartet - Advanced
SKU: PR.144405300
Composed by David Felder.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 1988. 24+8+8+8+8
pages. Theodore Presser
Company #144-40530.
Published by Theodore
Presser Company
(PR.144405300).
UPC:
680160584789. 9.5 x 13
inches.
Featured on
the Bridge Records CD
Music of David Felder, as
recorded by the Arditti
String Quartet. Felder's
Third Face was given its
first performance by the
Arditti, at the 1988
Buffalo new music
festival. I was struck by
it then; after further
hearings of it I admire
it even more. It is
lucid, but with a
controlled wildness in
its making. Written for
virtuosi, it challenges
them by presenting its
fierce, fertile ideas
with almost reckless
rhythmic and dynamic
exuberance. (Andrew
Porter, The New Yorker)
For advanced performers.
Duration: 11'.