Composed by Johann Sebastian Bach (1685-1750), edited by Wilfried Fischer. BWV 1...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Wilfried Fischer. BWV
1055. Full score (parts
not included) for oboe
d'amore, violin I, violin
II, viola and continuo
(cello, bass,
harpsichord). Urtext of
the New Bach Edition. A
Major. 26 pages.
Published by
Baerenreiter-Ausgaben
(German import). ISBN
M006465637.
Pachelbel's Canon Orchestre [Conducteur et Parties séparées] Theodore Presser Co.
(For Orchestra). By Johann Pachelbel (1653-1706). Arranged by Philip Gordon. Orc...(+)
(For Orchestra). By
Johann Pachelbel
(1653-1706). Arranged by
Philip Gordon. Orchestra.
For Flute, Oboe, Clarinet
I, Clarinet II, Alto
Saxophone, Tenor
Saxophone, Bassoon, Horn
I, Horn II, Trumpet I,
Trumpet II, Tenor, Tuba,
Timpani, Piano and
Conductor, Flute, Oboe,
Clarinet I, Clarinet II,
Alto Saxophone, Tenor
Saxophone, Bassoon, Horn
I, Horn I. Baroque. Score
and parts. Standard
notation. 12 pages.
Duration 2:45
Figured Bass Realization by S. Petrenz. By French Violin Music Of The Baroque Er...(+)
Figured Bass Realization
by S. Petrenz. By French
Violin Music Of The
Baroque Era. Edited by
Gisela Meyn-Beckmann.
Figured bass by Siegfried
Petrenz. Violin. Pages:
Score = X and 63 * Vl
Part = 31 * BC Part = 23.
Urtext edition-paper
bound. Published by G.
Henle.
By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For Alto, Tenor...(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
David Marlatt. For Alto,
Tenor and Baritone
Saxophones (AATB).
Masterworks; Quartet;
Woodwind - Saxophone
Quartet. Eighth Note
Publications. Form:
Concerto. Baroque;
Masterwork Arrangement.
16 pages. Published by
Eighth Note Publications
33 Pieces by 10 Composers in Progressive Order. Composed by Various. Edited by R...(+)
33 Pieces by 10 Composers
in Progressive Order.
Composed by Various.
Edited by Richard
Walters. Schirmer
Performance Editions.
Baroque, Classical,
Modern. Softcover. 40
pages. Published by G.
Schirmer
By Antonio Vivaldi (1678-1741). Arranged by David Marlatt. For 4 Trumpets and Ke...(+)
By Antonio Vivaldi
(1678-1741). Arranged by
David Marlatt. For 4
Trumpets and Keyboard.
Brass - Cornet (Trumpet)
Quartet; Masterworks;
Quartet. Baroque.
Duration 00:03:20
By Tomaso Giovanni Albinoni (1671-1751). Arranged by David Marlatt. For 2 Trumpe...(+)
By Tomaso Giovanni
Albinoni (1671-1751).
Arranged by David
Marlatt. For 2 Trumpets
and Keyboard. Brass -
Cornet (Trumpet) Duet;
Duet or Duo; Masterworks.
Baroque. Part(s).
Duration 00:03:20
Must-Know Collection of Original and Arranged Treasures from 1600-1750. Compo...(+)
Must-Know Collection of
Original and Arranged
Treasures from 1600-1750.
Composed by Various. Easy
Piano Songbook. Baroque,
Classical. Softcover. 106
pages. Published by Hal
Leonard
Arranged for Three Cellos. By Henry Purcell, John Blow. Arranged by Daniel Kazez...(+)
Arranged for Three
Cellos. By Henry Purcell,
John Blow. Arranged by
Daniel Kazez. String
trio. For Cello I, Cello
II, Cello III. Score and
parts. 8 pages. Published
by Theodore Presser
Company.
Figured Bass Realization by S. Petrenz - for Flute and Piano. By Flute Music I. ...(+)
Figured Bass Realization
by S. Petrenz - for Flute
and Piano. By Flute Music
I. Edited by Peter-Lukas
Graf. Figured bass by
Siegfried Petrenz. Flute.
Pages: Score = X and 74 *
Fl Part = 32 * BC Part =
24. Urtext edition
without fingering-paper
bound. Published by G.
Henle.
Orchestra SKU: HL.49009941 Study Score. Composed by Franz Joseph H...(+)
Orchestra
SKU:
HL.49009941
Study
Score. Composed by
Franz Joseph Haydn.
Edited by Harry Newstone.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. 69 pages.
Eulenburg Edition #ETP
468. Published by
Eulenburg Edition
(HL.49009941).
ISBN
9790200204025. UPC:
073999781991.
5.25x7.5x0.229
inches.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Composed by Johann Sebastian Bach (1685-1750). Arranged by Michael and Kimberly ...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Michael and Kimberly
Davenport. For solo bass
clarinet. Classical;
baroque period. Score.
Published by Alea
Publishing
Flute (Flute) - advanced SKU: HL.44011110 For Flute and Basso Continuo...(+)
Flute (Flute) - advanced
SKU: HL.44011110
For Flute and Basso
Continuo or Piano.
Arranged by Emily Beynon.
De Haske Play-Along Book.
Book with CD. Composed
2011. De Haske
Publications #1115103400.
Published by De Haske
Publications
(HL.44011110).
UPC:
884088654764. 9x12
inches.
In The
Art of Baroque
flutists can get
acquainted with the music
from the Baroque period
and also learn about
composers, the era and
the technique of playing
baroque music. The basso
continuo part means that
the pieces can be
performed with live
accompaniment or with the
play-along CD. Includes
pieces by J. S. Bach, G.
F. Handel, G. Ph.
Telemann. G. Platti, P.
Locatelli, M. Blavet and
J. Stanley.
In
The Art of Baroque
kunnen gevorderde
fluitisten zich verder
verdiepen in de muziek
uit de barokperiode. De
geselecteerde werken
worden aangevuld met
speeltips en informatie
over het tijdperk en de
componisten.
Vertegenwoordigdzijn
Johann Sebastian Bach,
Georg Friedrich Handel,
Georg Philipp Telemann,
Giovanni Platti, Pietro
Locatelli, Michel Blavet
en John Stanley. Dankzij
het basso continuo kunnen
de stukken ook met
begeleiding worden
gespeeld
In The
Art of Baroque (die
Kunst des Barocks) konnen
Flotisten die Musik der
Barockzeit und mehr
kennen lernen: Die
ausgewahlten Werke werden
von kurzen Texten u?ber
die Komponisten, die
Epoche und
Spielanweisungen sinnvoll
erganzt. Dank des Basso
continuo konnen die
Stu?cke auch mit
Begleitung gespielt
werden. Vertreten sind
die Komponisten J.
S.Bach, G. F. Handel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet und John
Stanley.
Ce
recueil permettra a tout
flutiste d'un niveau
avance, d'aborder l'art
de la musique baroque.
Les oeuvres selectionnees
sont agrementees de
textes courts sur les
compositeur et leur
epoque et des annotations
d'interpretations
viennent completer cet
excellent ouvrage. La
version d'accompagnement
a la basse continue de
chaque piece est
enregistree sur le CD.
Retrouvez sans attendre
Bach, Haendel, Telemann,
Platti, Locatelli,
Stanley et Blavet.
Ne L'arte del
barocco viene data ai
flautisti la possibilita
di esplorare e conoscere
questo periodo storico. I
brani sono infatti
corredati di brevi testi
con informazioni sui
compositori e sull'epoca
del barocco, come anche
istruzioni su come
eseguire i brani. Grazie
al basso continuo i brani
possono essere suonati
anche con
l'accompagnamento. Nella
pubblicazione sono
proposte opere di J.S.
Bach, G.F. Haendel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet e John
Stanley.
The Art of Baroque Flûte traversière [Partition + CD] - Avancé De Haske Publications
Flute - advanced SKU: BT.DHP-1115103-400 For Flute and Basso Continuo ...(+)
Flute - advanced
SKU:
BT.DHP-1115103-400
For Flute and Basso
Continuo or Piano.
Arranged by Emily Beynon.
Emily Beynon Presents.
Book with CD. Composed
2011. 52 pages. De Haske
Publications #DHP
1115103-400. Published by
De Haske Publications
(BT.DHP-1115103-400).
9x12 inches.
In
The Art of Baroque
flutists can get
acquainted with the music
from the Baroque period
and also learn about
composers, the era and
the technique of playing
baroque music. The basso
continuo part means that
the pieces can be
performed with live
accompaniment or with the
play-along CD. Includes
pieces by J. S. Bach, G.
F. Handel, G. Ph.
Telemann. G. Platti, P.
Locatelli, M. Blavet and
J. Stanley.
In
The Art of Baroque
kunnen gevorderde
fluitisten zich verder
verdiepen in de muziek
uit de barokperiode. De
geselecteerde werken
worden aangevuld met
speeltips en informatie
over het tijdperk en de
componisten.
Vertegenwoordigdzijn
Johann Sebastian Bach,
Georg Friedrich
Händel, Georg Philipp
Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet en John
Stanley. Dankzij het
basso continuo kunnen de
stukken ook met
begeleiding worden
gespeeld
In The
Art of Baroque (die
Kunst des Barocks)
können Flötisten
die Musik der Barockzeit
und mehr kennen lernen:
Die ausgewählten Werke
werden von kurzen Texten
über die
Komponisten, die Epoche
und Spielanweisungen
sinnvoll ergänzt. Dank
des Basso continuo
können die
Stücke auch mit
Begleitung gespielt
werden. Vertreten sind
die Komponisten J.
S.Bach, G. F. Händel,
G. Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet und John
Stanley.
Ne L‘arte
del barocco“ viene
data ai flautisti la
possibilit di esplorare e
conoscere questo periodo
storico. I brani sono
infatti corredati di
brevi testi con
informazioni sui
compositori e
sull‘epoca del
barocco, come anche
istruzioni su come
eseguire i brani. Grazie
al basso continuo i brani
possono essere suonati
anche con
l‘accompagnamento.
Nella pubblicazione sono
proposte opere di J.S.
Bach, G.F. Haendel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet e John
Stanley.
For Guitar. Classical (chamber). Includes a high-quality printed music score wit...(+)
For Guitar. Classical
(chamber). Includes a
high-quality printed
music score with both
primo and secondo guitar
parts; and a compact disc
containing a complete
performance with secondo
guitar on the left
channel, and primo guitar
on the right channel.
Either can be easily
removed for your
performance pleasure.
Published by Music Minus
One.
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE M...(+)
(Score)
SKU:
HL.49003135
An
Anthology of Listening
Material for GCSE
Music. Composed by
Bruce Cole and David
Bowman. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical,
Collection. Score. 200
pages. Schott Music
#ED12351. Published by
Schott Music
(HL.49003135).
ISBN
9780946535132. UPC:
884088991623.
8.25x11.75x0.436 inches.
English.
This
anthology of 72 music
examples, consisting of
the Teacher's Manual,
Pupil's Questions, Music
Book and two recordings
on CD or cassettes, is
intended to provide
comprehensive resource
materials for the
listening component of
the GCSE music
syllabuses. The extracts
have been selected
especially to illustrate
the periods, styles and
rudiments of music
encompassed within the
syllabuses, and the four
components of the
publication produced to
ensure maximum assistance
to the teacher in the
classroom. Selected
contents: MUSIC IN THE
LATE RENAISSANCE O quam
gloriosum est regnum * T.
Morley: MUSIC IN THE
BAROQUE ERA: H. Purcell:
Hark, each tree (from Ode
for St Cecilia's Day) *
A. Vivaldi: Second
Allegro (from Op. 3 No.
11) * G.F. Handel: Lascia
ch'io * J.S. Bach:
Erschienen ist der
herrliche Tag (BWV 629) *
F. Couperin: Le
Petit-Rein MUSIC IN THE
ROMANTIC PERIOD: F.
Schubert: Am Meer (from
Schwanengesang) * H.
Berlioz: Un Bal (from
Symphonie fantastique) *
F. Chopin: Mazurka (Op. 7
No. 5) * R. Schumann:
Fantasiestuck (Op. 73 No.
1) * R. Wagner: Prelude
(to Tristan and Isolde) *
R. Strauss: Epilog (from
Till Eulenspiegels
lustige Streiche) * MUSIC
IN THE TWENTIETH CENTURY:
B. Bartok: Third movement
(from Sonata for two
Pianos and Percussion) *
K. Stockhausen: Zyklus *
C. Berberian: Stripsody *
JAZZ AND POP: F. Molton:
Peace in the Valley * Bix
Beiderbecke and his Gang:
Jazz Me Blues * The
Platters: Only You * E.
Fitzgerald: Mack the
Knife * S. Getz and A.
Gilberto: The Girl From
Ipanema and more.
Organ SKU: BR.EB-3938 12 Compositions of the 15th and 16th Century...(+)
Organ
SKU:
BR.EB-3938
12
Compositions of the 15th
and 16th Century.
Composed by Arnold
Schering. Edited by
Arnold Schering. Solo
instruments; stapled.
Edition Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
40 pages. Breitkopf and
Haertel #EB 3938.
Published by Breitkopf
and Haertel (BR.EB-3938).
ISBN 9790004162057. 12
x 9 inches.
Antoine
Brumel (ca. 1460-ca.
1520) Um 1460 in den
franzosischen
Niederlanden geboren,
wirkte Antoine Brumel
1483 als Vorsanger an der
Kathedrale zu Chartres,
spater in Laon. 1498-1500
war er Chormeister an
Notre-Dame in Paris. Uber
Lyon kam er 1505 als
Nachfolger Josquins an
den Hof Alfonsos I. von
Ferrara und starb
wahrscheinlich um 1520.
Brumel gilt als einer der
bedeutendsten
,,Niederlander der
Josquin-Generation. Er
schrieb uberwiegend
Kirchenmusik: Messen
(u.a. die 12stimmige
Missa ,,Et ecce terrae
motus, die noch 1570 in
Munchen unter der Leitung
Orlando di Lassos
aufgefuhrt wurde),
Motetten,
Magnificat-Vertonungen
und Bicinien, ferner
einige Chansons. Brumel
ist ein Meister des
polyphonen Satzes;
gelegentlich treten
homophone Partien auf
(Missa ,,Dringhs). Hans
Buchner (1483-1538)
Buchner wurde am 26.
Oktober 1483 in
Ravensburg (Wurttemberg)
geboren. Bereits in
jungen Jahren kam er nach
Augsburg und Innsbruck,
wo er Schuler Paul
Hofhaimers war. In Wien
lernte er in der
kaiserlichen Hofkantorei
wahrscheinlich Heinrich
Isaac und Ludwig Senfl
kennen. 1506 wurde
Buchner Organist in
Konstanz. Er starb im
Jahre 1538. Von ihm sind
zahlreiche Kompositionen
(Orgelwerke, Motetten,
Lieder, Tanze) erhalten.
Buchners Hauptwerk ist
das ,,Fundamentum, ein
theoretisch-praktisches
Lehrbuch der
Orgelspielkunst. Es
enthalt Anweisungen zur
Improvisation, zum
Orgelspiel und zur
lntavolierung sowie 145
Orgelkompositionen.
Heinrich Finck
(1444/45-1527) Finck
stammt wahrscheinlich aus
Bamberg, wo er um 1444/45
geboren wurde. Uber sein
Leben ist wenig bekannt.
Er wirkte an der
koniglich-polnischen
Hofkapelle in Krakau und
Warschau, war aber
daneben viel auf Reisen.
1510 wurde er
Kapellmeister am Hof des
Herzogs von Wurttemberg,
wirkte spater am
erzbischoflichen Hof in
Salzburg und erhielt im
hohen Alter die Stelle
des Hofkapellmeisters
Ferdinands I. in Wien, wo
er am 9. Juni 1527 starb.
Von Heinrich Fincks
Kompositionen ist nur ein
kleiner Teil uberliefert.
An erster Stelle sind
seine deutschen Lieder zu
nennen; ausserdem schrieb
Finck Messen (Missa in
summis) und Motetten. Der
Komponist gilt als der
erste deutsche
Grossmeister der Musik.
Seine Fruhwerke zeigen
zum Teil noch eine karge
Dreistimmigkeit mit
harten Zusammenklangen;
spater wird sein Satz
vollklingender,
wahrscheinlich unter dem
Einfluss der
,,Niederlander (Isaac).
Josquin Desprez
(ca.1440-1521/24) Josquin
ist der beruhmteste
Meister seiner Epoche,
die nach ihm als
Joaquin-Zeit bezeichnet
wird. Er wurde um 1440
wahrscheinlich in der
Picardie geboren und soll
Schuler Ockeghems gewesen
sein. 1459-1472 war
Josquin Sanger der
Mailander Domkantorei,
1473-1479 Mitglied der
Kapelle am Hof der Sforza
in Mailand. 1486-1494
wird Josquin als Mitglied
der papstlichen
Sangerkapelle in Rom
genannt. Seine Tatigkeit
als Chordirektor am Dom
zu Cambrai 1495-1499 ist
urkundlich nicht
gesichert. Er komponierte
fur den Hof Konig Ludwigs
XII. von Frankreich und
fur den Hof der Este in
Ferrara. 1502 wurde
Josquin von Ercole I. als
Kapellmeister nach
Ferrara berufen, wo er
bis zum Tode des Herzogs
(1505) blieb. Sein
Nachfolger wurde Brumel.
Joaquin kehrte in seine
Heimat zuruck und wurde
zum Probst der Kirche
Notre-Dame in Conde
(Hennegau) ernannt. wo er
am 27. August 1521 starb.
Als Komponist gelangte
Josquin bereits zu
Lebzeiten zu europaischer
Beruhmtheit. Sein Stil
beeinflusste das gesamte
musikalische Schaffen in
Europa bis in die
Palestrina-Zeit. Unter
seinen Werken sind an
erster Stelle die Messen
zu nennen (darunter ,,L'
homme arme, Missa sine
nomine, sein Meisterwerk
,,La sol fa re mi, die
zart-lyrische Messe ,,Ave
maris stella, die
Reprasentationsmesse
,,Hercules Dux Ferrariae
und die Spatwerke ,,De
beata virgine, ,,Pange
lingua und ,,Da pacem);
weiterhin schrieb er
Motetten (u. a. ,,Stabat
mater, ,,Miserere mei,
,,Memor esto verbi tui,
,,De profundis, ,,In
exitu Israel, ,,Laudate
pueri Dominum) und
Chansons (die
bekanntesten sind ,,Adieu
mes amours, ,,Mille
regretz und ,,J' ay bien
cause). Josquin ist einer
der genialsten Musiker
aller Zeiten. Sein streng
polyphoner Satz fuhrt
konsequent den Stil
Ockeghems weiter. Josquin
erreicht in seinen Werken
die hochste Meisterschaft
im
konstruktiv-imitatorische
n Stil der
,,Niederlander.
Gleichzeitig uberwindet
er jedoch das nur
Artistische dieser Kunst;
sein subjektiv gefarbtes,
von individuellem
Ausdruckswillen
bestimmtes
Wort-Ton-Verhaltnis wird
zum Ideal der
Renaissancemusik.
Josquins
Kompositionslehre wurde
1552 von seinem Schuler
Adrian Petit Coclico im
,,Compendium musicae
aufgezeichnet. Heinrich
Isaac (ca. 1450-1517)
Isaac wurde kurz vor 1450
in den Niederlanden
geboren. Er war
wahrscheinlich Schuler
Squarcialupis in Florenz
und wirkte in Ferrara und
am Hof Lorenzos de'
Medici in Florenz. 1484
weilte er gleichzeitig
mit Paul Hofhaimer in
Innsbruck, war danach bis
1494 wieder in Florenz
und wurde 1496
Hofkomponist Maximilians
I. in Augsburg und Wien.
Er unternahm zahlreiche
Reisen (u.a. 1497-1500 an
den Hof Friedrichs des
Weisen nach Torgau,
1503-1505 zu Ercole I.
nach Ferrara). Spater
lebte Isaac in Konstanz,
wo er sein Motettenwerk
,,Chorale Constantinum
(1550 von seinem Schuler
Ludwig Senfl
herausgegeben) schuf; von
1514 bis zu seinem Tode
1517 lebte er wieder in
Florenz. Isaac ist einer
der vielseitigsten
Musiker seiner Zeit. Er
ist in allen
musikalischen
Nationalstilen
sattelfest. Der Bogen
seines Schaffens spannt
sich vom Konstruktivismus
der niederlandischen
Polyphonie bis zur
anmutigen Intimitat des
schlichten
Renaissance-Satzes. Isaac
schrieb Messen (u. a. die
beruhmte ,,Missa
carminum), Motetten
(,,Chorale Constantinum),
Chorlieder und Chorsatze
auf deutsche,
franzosische und
italienische Texte (sein
Satz ,,Innsbruck, ich
muss dich lassen wurde
weltberuhmt) sowie
Instrumentalsatze.
Johannes Martini
(1430/40-ca.1500) Der um
1430/40 in Flandern
geborene Komponist wirkte
1474 neben Josquin und
Compere an der Mailander
Hofkapelle. 1475 wurde er
Mitglied der Hofkapelle
zu Ferrara, wo er noch
1492 tatig war. Sein
Todesjahr ist unbekannt.
Nach 1500 wird Martini
nicht mehr in den Listen
bekannter Komponisten
gefuhrt. Von Martini sind
Messen, Motetten und
Chansons uberliefert, die
stilistisch von Dufay und
Ockeghem beeinflusst
sind. Eine gewisse
Erstarrung des Stils ist
unverkennbar. Gregor
Meyer (ca. 1510-1576)
Meyer wurde um 1510 in
Sackingen geboren und
wirkte um 1535 bis 1558
als Organist in
Solothurn, 1561 bis zu
seinem Tode 1576 am
Munster zu Basel. Auf
Veranlassung Glareans
schrieb Meyer fur dessen
,,Dodekachordon (1547)
zahlreiche
Kompositionsbeispiele;
ausserdem sind in anderen
Sammlungen einige Kanons,
Motetten, einzelne
Messsatze und kirchliche
und weltliche Lieder
erhalten. Jacob Obrecht
(1450/51-1505) Als
einziger der grossen
,,Niederlander stammt
Obrecht aus dem
nordniederlandischen
Raum; er wurde
wahrscheinlich am 22.
November 1450 in Bergen
op Zoom geboren.
1476-1478 war er
Chormeister in Utrecht,
1479-1484 in seiner
Heimatstadt. 1484/85
wirkte er als
Kapellmeister an der
Kathedrale in Cambrai und
anschliessend in Brugge.
1487/88 besuchte Obrecht
den Hof Ercoles I. von
Ferrara. 1492 finden wir
ihn als Chormeister an
Notre-Dame zu Antwerpen,
1496 in Bergen op Zoom,
1498 in Brugge. 1500
schied er
krankheitshalber aus dem
Dienst und lebte bis 1504
in Antwerpen. Auf einer
Reise nach Ferrara starb
er im Jahre 1505
(angeblich an der Pest).
Von Obrechts
Kompositionen sind etwa
25 Messen (darunter
,,Maria zart, ,,L' homme
arme, ,,Caput, ,,Je ne
demande, ,,Fortuna
desperata), Motetten und
Chansons auf
niederlandische,
franzosische und
italienische Texte
uberliefert. Obrecht
gehort mit Josquin, lsaac
und Pierre de la Rue zu
den Grossmeistern der
Josquin-Zeit. Er setzt
die Polyphonie Dufays und
Ockeghems fort, doch
spielen bei ihm die
Durchimitation wie auch
das bei Josquin stark
ausgepragte
Wort-Ton-Verhaltnis eine
geringe Rolle. Obrechts
Musik ist durch ihre
vitale Kraft,
Spontaneitat des
Ausdrucks, klare
Periodenbildung, den Hang
zum vollen harmonischen
Satz und ein neues
Tonalitatsbewusstsein
gekennzeichnet. Im
Spatwerk ist der Einfluss
des volkstumlichen
italienischen Liedes
festzustellen. Obrechte
ausgepragter Penonalstil
ist so unnachahmlich,
dass er keine Fortsetzer
fand. Nicht zu Unrecht
wird Obrecht als der
grosse ,,Aussenseiter
zwischen den Perioden
Dufay-Ockeghem und
Josquin-Isaac bezeichnet.
Marbrianus de Orto (ca.
1450-1529) Orto stammt
moglicherweise ebenfalls
aus Flandern; sein
Geburtsjahr ist nicht
bekannt. 1484-1494 war er
gleichzeitig mit Josquin
papstlicher Kapellsanger
in Rom, spater (1505) am
Hofe Philipps des Schonen
von Burgund. Orto starb
1529 in Nivelles. Von ihm
sind Messen, Motetten und
Chansons erhalten.
Vermutlich redigierte er
wahrend seines romischen
Aufenthaltes gemeinsam
mit Josquin die
Bearbeitung Duf'ayscher
Hymnen. Ortos Messen
reichen nicht an die
Spitzenleistungen seiner
Zeit (Josquin, Obrecht)
heran; bedeutender sind
seine Motetten, wie etwa
die Motette ,,Ave Maria,
die Petrucci 1501 an die
Spitze seines ,,Odhecaton
stellte, und die
Vergil-Motette ,,Dulces
exuviae.
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-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-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.