Consolations Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ14505 Grand solo de concert (earl. vers.) and Other ...(+)
Piano
SKU:
BT.EMBZ14505
Grand
solo de concert (earl.
vers.) and Other Works
(Suppl. B 10). By
Adrienne
Kaczmarczyk_Ãgnes Sas.
By Franz Liszt. EMB Liszt
Works. Book Only.
Composed 2014. 208 pages.
Editio Musica Budapest
#EMBZ14505. Published by
Editio Musica Budapest
(BT.EMBZ14505).
English-German-Hungari
an.
Of the early
versions of works
included in this volume
the first versions of the
notably popular
Consolations cycle and
Grand solo de concert
(published in 1850) are
of particular interest.
In the first version of
Consolations the third
movement was a style
hongrois piece whose
thematic material was
later used by Liszt in
his Hungarian Rhapsody
No. 1 (published in
1851). The first version
of Grand solo de concert
shows that the work did
not originally include a
slow middle section to be
recapitulated towards the
end as seen in the final
version. This is a
characteristically
Lisztian feature that
would reappear a few
years later in his Sonata
in B minor. A detailed
preface inHungarian,
English, and German,
including new research
results, numerous
manuscript facsimiles,
and critical notes, makes
this volume of the New
Liszt Edition an
important publication of
immense scholarly value.
Along with the
cloth-bound Complete
Edition, a paperback
version for practical use
has also been published.
This edition's contents
are identical to those of
the hardcover edition
with the exception that
the critical notes are
not included.
Of
the early versions of
works included in
Supplementary Volume 10,
particular interest is
expected in the first
versions of the notably
popular Consolations
cycle and the monumental
Grand solo de concert of
1850. In the first
version of
Consolationsthe third
movement was a style
hongrois piece whose
thematic material Liszt
used again later in the
first piece of the
Hungarian Rhapsodies
published in 1851. The
first version of the
Grand solo de concert
shows that the original
concept did notinclude
the slow
“movementâ€
that would be placed in
the middle of the work
and recapitulated towards
the end in the final
version - a
characteristically
Lisztian feature that
would reappear a few
years later in the Sonata
in B flat minor.A
detailed preface in
Hungarian, English and
German, including new
research result and,
numerous manuscript
facsimiles make the
practical paperback
version of this volume of
the New Liszt Edition a
specially important
publication of scholarly
value.
Von den im
vorliegenden Band
veröffentlichten
Werkversionen dürften
der außerordentlich
populäre
Consolations-Zyklus sowie
die Erstfassung des 1850
entstandenen Grand solo
de concert (Großes
Konzertsolo) auf
besonderes Interesse
stoßen. In der ersten
Fassung der Consolations
stand an dritter Stelle
noch ein Stück im
ungarischen Stil, dessen
Thematik Liszt später
im 1851 herausgegebenen
1. Stück der
Ungarischen Rhapsodien
verwendete. Die erste
Version des Großen
Konzertsolos belegt, dass
der in der Mitte der
Komposition angelegte und
kurz vor Ende
rekapitulierte langsame
Teil, welcher zum typisch
Lisztschen Element der
endgültigen Fassung
des Konzertsolos - und
einige Jahre
späterauch der
H-Moll-Sonate - wird,
noch kein Bestandteil der
ursprünglichen
Konzeption war.
Piano SKU: BT.EMBZ14505A Suppl. 10. By Adrienne Kaczmarczyk_Ãgn...(+)
Piano
SKU:
BT.EMBZ14505A
Suppl. 10. By
Adrienne
Kaczmarczyk_Ãgnes Sas.
By Franz Liszt. EMB New
Listz Edition. Book
Hardcover. Composed 2014.
224 pages. Editio Musica
Budapest #EMBZ14505A.
Published by Editio
Musica Budapest
(BT.EMBZ14505A).
English-German-Hungari
an.
Of the early
versions of works
included in this volume
the first versions of the
notably popular
Consolations cycle and
Grand solo de concert
(published in 1850) are
of particular interest.
In the first version of
Consolations the third
movement was a style
hongrois piece whose
thematic material was
later used by Liszt in
his Hungarian Rhapsody
No. 1 (published in
1851). The first version
of Grand solo de concert
shows that the work did
not originally include a
slow middle section to be
recapitulated towards the
end as seen in the final
version. This is a
characteristically
Lisztian feature that
would reappear a few
years later in his Sonata
in B minor. A detailed
preface inHungarian,
English, and German,
including new research
results, numerous
manuscript facsimiles,
and critical notes, makes
this volume of the New
Liszt Edition an
important publication of
immense scholarly value.
Along with the
cloth-bound Complete
Edition, a paperback
version for practical use
has also been published.
This edition's contents
are identical to those of
the hardcover edition
with the exception that
the critical notes are
not included.
Of
the early versions of
works included in
Supplementary Volume 10,
particular interest is
expected in the first
versions of the notably
popular Consolations
cycle and the monumental
Grand solo de concert of
1850. In the first
version of
Consolationsthe third
movement was a style
hongrois piece whose
thematic material Liszt
used again later in the
first piece of the
Hungarian Rhapsodies
published in 1851. The
first version of the
Grand solo de concert
shows that the original
concept did notinclude
the slow
“movementâ€
that would be placed in
the middle of the work
and recapitulated towards
the end in the final
version - a
characteristically
Lisztian feature that
would reappear a few
years later in the Sonata
in B flat minor.A
detailed preface in
Hungarian, English and
German, including new
research results,
numerous manuscript
facsimiles and critical
notes make this volume of
the New Liszt Edition a
specially important
publication of scholarly
value. Simultaneously
withthe Complete Edition
volume in colth-bound,
its paperback for
practical purposes is
also published, the
contents of which, except
for the critical notes,
is identical with the
Complete Edition
volume.
Von den im
vorliegenden Band
veröffentlichten
Werkversionen dürften
der außerordentlich
populäre
Consolations-Zyklus sowie
die Erstfassung des 1850
entstandenen Grand solo
de concert (Großes
Konzertsolo) auf
besonderes Interesse
stoßen. In der ersten
Fassung der Consolations
stand an dritter Stelle
noch ein Stück im
ungarischen Stil, dessen
Thematik Liszt später
im 1851 herausgegebenen
1. Stück der
Ungarischen Rhapsodien
verwendete. Die erste
Version des Großen
Konzertsolos belegt, dass
der in der Mitte der
Komposition angelegte und
kurz vor Ende
rekapitulierte langsame
Teil, welcher zum typisch
Lisztschen Element der
endgültigen Fassung
des Konzertsolos - und
einige Jahre
späterauch der
H-Moll-Sonate - wird,
noch kein Bestandteil der
ursprünglichen
Konzeption war.
With Online Audio of performances Book/Online Audio. By Alexandre Dossin. By Fra...(+)
With Online Audio of
performances Book/Online
Audio. By Alexandre
Dossin. By Franz Liszt
(1811-1886). Edited by
Alexandre Dossin.
Schirmer Performance
Editions. Classical.
Softcover Audio Online.
52 pages. Published by G.
Schirmer
Piano - Level 5 SKU: LM.P1811 Composed by Franz Liszt. Les Classiques fav...(+)
Piano - Level 5
SKU:
LM.P1811
Composed by
Franz Liszt. Les
Classiques favoris.
Classical. Score.
Editions Henry Lemoine
#P1811. Published by
Editions Henry Lemoine
(LM.P1811).
ISBN
9790230926782.
Pays
age (3e etude
transcendante, livre I) -
Mazeppa (4e etude
transcendante, livre I) -
Eroica (7e etude
transcendante, livre I) -
Melodie hongroise en Re b
(L'Album du voyageur) -
Impromptu en fa# majeur -
Lamento (n. 2 des Trois
Caprices poetiques) -
Ballade en Si mineur - Le
Lac de Wallenstadt (Annee
de pelerinage en Suisse)
- Vallee d'Obermann
(Annee de pelerinage en
Suisse) - Canzonetta del
Salvator Rosa (Annee de
pelerinage en Italie) -
Sposalizio (Annee de
pelerinage en Italie) -
10e etude transcendante
en Fa mineur (livre II) -
5e etude, Il Flauto
(d'apres Paganini) -
Evocation (n. 1 des
Consolations) - Chant
elegiaque (n. 4 des
Consolations) -
Funerailles (des
Harmonies poetiques et
religieuses) - Pensees
des Morts (des Harmonies
poetiques et religieuses)
- Fantaisie et Fugue sur
B.A.C.H. - La Mort
d'Iseult (Wagner) - 10e
Rhapsodie.
Chorus a cappella (4S4A4T4B) SKU: BR.BG-767-02 (Wessobrunner Gebet)(+)
Chorus a cappella
(4S4A4T4B)
SKU:
BR.BG-767-02
(Wessobrunner
Gebet). Composed by
Helmut Lachenmann. Choir;
stapled. Edition Gerig.
World premiere: Basel,
June 15, 1969Dedicated to
Clytus Gottwald and the
Stuttgarter Schola
Cantorium. Music
post-1945; New music
(post-2000). Choral
score. Composed 1968. 40
pages. Duration 6'30.
Breitkopf and Haertel #BG
767-02. Published by
Breitkopf and Haertel
(BR.BG-767-02).
ISBN
9790004120705. 9 x 12
inches.
Consolation
II fur 16 Stimmen stellt
einen Teil
beziehungsweise eine
Schicht eines
ursprunglich vierteilig
geplanten Zyklus fur Chor
und Schlagzeug dar. Jeder
der darin vereinigten
Texte reprasentiert unter
anderem Blickwinkel eine
Erkenntnis, die uber die
eigenen existentiellen
Grenzen hinweghelfen
mochte. Der hier zugrunde
liegende Text - eine
neuhochdeutsche Fassung
des ,,Wessobrunner Gebets
- lautet:Mir gestand der
Sterblichen Staunen als
HochstesDass Erde nicht
war noch oben HimmelNoch
Baum, noch irgend ein
Berg nicht waryNoch die
Sonne, nicht Licht
warNoch der Mond nicht
leuchtete noch das
gewaltige MeerDa noch
nirgends nichts war an
Enden und WendenDa war
der eine allmachtige
Gott.In Consolation II
ist der Text nicht mehr
verstehbar. Solche
,,Unverstandlichkeit
scheint mir legitim und
dort kaum vermeidlich, wo
Musik und musikalische
Form ihre alten
sprach-analogen
Gesetzmassigkeiten mit
anderen vertauscht haben,
mit Gesetzmassigkeiten
namlich, welche sich
gegen die oberflachliche
Koppelung mit einem
semantisch orientierten
und grammatikalisch
gerichteten Sprachverlauf
sperren. Einen Text ubers
Vertonen hinaus
,,komponieren - das muss
heissen: in die durch ihn
gesetzte Ordnung
eingreifen und auf sie
reagieren. Dabei geht
Consolation II - wie
fruher auch Consolation I
- von einer
Textbehandlung aus, in
welcher dank der
charakteristischen
Okonomie des phonetischen
Materials auch trotz
volliger Isolierung,
Verfremdung und
Umstellung der
Textpartikel die
semantische Bedeutung
doch noch quasi ,,von
fern signalisiert bleibt.
Indem die phonetischen
Elemente innerhalb der
damit gebildeten
Strukturen nicht bloss
Mittel, sondern selbst
Objekt des musikalischen
Ausdrucks werden, stellen
sich Text und Werk selbst
als ein Teil jener
Materie dar, von deren
Zeitlichkeit hier die
Rede ist.Ein geistliches
Werk? Vielleicht, aber
nicht von Schuld und
Erlosung ist die Rede,
sondern von jener
Erfahrung, die jeglichem
Denken zugrunde liegt:
der Sterblichen
Staunen(Helmut
Lachenmann,
1969)CDs:Schola Cantorum
Stuttgart, Ltg. Clytus
Gottwald CD Cadenza 800
893 Schola Heidelberg,
Ltg. Walter Nussbaum CD
KAIROS
0012202KAIBibliografie:He
rmanutz, Tobias:
Avantgardistische
Chormusik als komponierte
Negative Theologie.
Gyorgy Ligeti: Lux
aeterna - Dieter
Schnebel: AMN - Helmut
Lachenmann: Consolation
II - Heinz
Holliger:Psalm, Diss.
Karlsruhe 2014, Marburg:
tectum 2015.Luck,
Hartmut: Philosophie und
Literatur im Werk von
Helmut Lachenmann, in:
Der Atem des Wanderers.
Der Komponist Helmut
Lachenmann, hrsg. von
Hans-Klaus Jungheinrich,
Mainz: Schott 2006, S.
41-55.
World
premiere: Basel, June 15,
1969Dedicated to Clytus
Gottwald and the
Stuttgarter Schola
Cantorium.
Consolation Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094676-010 Wer nur den li...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1094676-010
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Set (Score &
Parts). Composed 2009. De
Haske Publications #DHP
1094676-010. Published by
De Haske Publications
(BT.DHP-1094676-010).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten werd
omstreeks 1641 door Georg
Neumark geschreven. Het
gezang bestaat uit zeven
strofen waarin het
vertrouwen in God wordt
bezongen. Neumark zelf
voegde er de subtitel
Troostlied aan
toe. Johann Sebastian
Bach heeft het meermaals
gebruikt. Zo draagt zijn
cantate BWV 93 de titel
Wer nur den lieben
Gott lässt walten.
In dit arrangement van
Jan de Haan klinkt het
koraal twee keer.
Wer nur den
lieben Gott lässt
walten wurde um 1641
von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intor
no al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
Consolation Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094676-140 Wer nur den li...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1094676-140
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Score Only.
Composed 2009. 16 pages.
De Haske Publications
#DHP 1094676-140.
Published by De Haske
Publications
(BT.DHP-1094676-140).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten werd
omstreeks 1641 door Georg
Neumark geschreven. Het
gezang bestaat uit zeven
strofen waarin het
vertrouwen in God wordt
bezongen. Neumark zelf
voegde er de subtitel
Troostlied aan
toe. Johann Sebastian
Bach heeft het meermaals
gebruikt. Zo draagt zijn
cantate BWV 93 de titel
Wer nur den lieben
Gott lässt walten.
In dit arrangement van
Jan de Haan klinkt het
koraal twee keer.
Wer nur den
lieben Gott lässt
walten wurde um 1641
von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intor
no al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
SKU: HL.50610018 Liszt, Works for Piano Solo, Supplementary vol. 10(+)
SKU: HL.50610018
Liszt, Works for Piano
Solo, Supplementary vol.
10. Composed by Franz
Liszt. EMB. Hardcover.
208 pages. Editio Musica
Budapest #Z14505.
Published by Editio
Musica Budapest
(HL.50610018).
Of the early
versions of works
included in this volume
the first versions of the
notably popular
Consolations cycle and
Grand solo de concert
(published in 1850) are
of particular interest.
In the first version of
Consolations the third
movement was a style
hongrois piece whose
thematic material was
later used by Liszt in
his Hungarian Rhapsody
No. 1 (published in
1851). The first version
of Grand solo de concert
shows that the work did
not originally include a
slow middle section to be
recapitulated towards the
end as seen in the final
version. This is a
characteristically
Lisztian feature that
would reappear a few
years later in his Sonata
in B minor. A detailed
preface in Hungarian,
English, and German,
including new research
results, numerous
manuscript facsimiles,
and critical notes, makes
this volume of the New
Liszt Edition an
important publication of
immense scholarly value.
Along with the
cloth-bound Complete
Edition, a paperback
version for practical use
has also been published.
This edition's contents
are identical to those of
the hardcover edition
with the exception that
the critical notes are
not included.
Consolation Fanfare [Conducteur] De Haske Publications
Fanfare Band SKU: BT.DHP-1094676-120 Wer nur den lieben Gott lässt ...(+)
Fanfare Band
SKU:
BT.DHP-1094676-120
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Score Only.
Composed 2009. 16 pages.
De Haske Publications
#DHP 1094676-120.
Published by De Haske
Publications
(BT.DHP-1094676-120).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten wurde
um 1641 von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intorno
al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
Consolation Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1094676-020 Wer nur den lieben Gott...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1094676-020
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Set (Score &
Parts). Composed 2009. De
Haske Publications #DHP
1094676-020. Published by
De Haske Publications
(BT.DHP-1094676-020).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten wurde
um 1641 von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intorno
al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
Consolation Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1094676-130 Wer nur den lieben Gott l...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1094676-130
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Score Only.
Composed 2009. 16 pages.
De Haske Publications
#DHP 1094676-130.
Published by De Haske
Publications
(BT.DHP-1094676-130).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten wurde
um 1641 von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intorno
al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
Consolation Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1094676-030 Wer nur den lieben Gott l...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1094676-030
Wer nur den lieben
Gott lässt walten.
Arranged by Jan de Haan.
Musica Sacra. Hymns &
Chorals. Set (Score &
Parts). Composed 2009. De
Haske Publications #DHP
1094676-030. Published by
De Haske Publications
(BT.DHP-1094676-030).
9x12 inches.
English-German-French-Dut
ch.
Wer nur den
lieben Gott lässt
walten was composed
by Georg Neumark in about
1641 and was subtitled
‘Trostlied’
literally meaning
consolation song.
Songbooks at the time
showed the popularity of
this song and it is still
well-known today partly
due to Johann Sebastian
Bach’s use of the
melody for one of his own
chorals. In Jan de
Haan’s arrangement
the choral is heard
twice, once, alternating
with the original motif
from the introduction and
a second time, without
interruption, reflecting
the composer’s
original intention - a
song of
consolation.
We
r nur den lieben Gott
lässt walten wurde
um 1641 von Georg Neumark
geschrieben. Alte
Gesangbücher belegen
eine frühe
Popularität des
Liedes, das heute nicht
zuletzt durch Johann
Sebastian Bach, der es u.
a. für einen Choral
verwendete, jeder kennt.
In dieser Bearbeitung
erklingt der Bach-Choral
zweimal: einmal
alternierend mit dem
Motiv aus Jan de Haans
Einleitung und einmal
ohne Unterbrechung in
einer Besetzung, die der
ursprünglichen Absicht
gerecht wird: einem
Trostlied.
Intorno
al 1641, Georg Neumark
compone il cantico Wer
nur den lieben Gott
laesst walten, nel
quale ogni strofa esprime
la fede in Dio e gli d il
sottotitolo di Canto di
consolazione. Il cantico
ebbe grande notoriet . In
questo arrangiamento
firmato Jan de Haan, il
corale è esposto a due
riprese: dapprima
preceduto da una breve
introduzione seguita da
una variazione tra ogni
verso, in seguito in una
trama continua che,
fedele al sottotitolo
originale, cerca nella
sua azione la
consolazione.
Composed by Franz Liszt, edited by Rafael Joseffy. For solo piano. Schirmer's Li...(+)
Composed by Franz Liszt,
edited by Rafael Joseffy.
For solo piano.
Schirmer's Library,
volume 341. Format: piano
solo book. With
fingerings. Romantic
period. 40 pages. 9x12
inches. Published by
Schirmer.
By Franz Liszt. Edited by Sauer. For piano. Polonaises(c,E); Ballades(D|,b),Meph...(+)
By Franz Liszt. Edited by
Sauer. For piano.
Polonaises(c,E);
Ballades(D|,b),Mephisto
Waltz; Valse Impromptu;
Premiere Valse
Oubliee,Grand Galop
Chromatique;
Consolations; Deux
Legendes. Published by
C.F. Peters.
SATB choir with some divisi, a cappella - Medium Difficult/Difficult SKU: PL....(+)
SATB choir with some
divisi, a cappella -
Medium
Difficult/Difficult
SKU: PL.9635
Composed by Gerald
Hendrie. Choral, General.
Choral score. Paraclete
Press #9635. Published by
Paraclete Press
(PL.9635).
Gerald Hendrie
was inspired by the texts
of the Roman philosopher
Boethius to create these
Four Consolations which
reflect on the subject of
death. Writing in a
neo-classical style, Mr.
Hendrie creates powerful
images from the text with
the use of varied
textures and angular
writing for the voices.
The harmony is enhanced
by chromaticism while the
rhythms reflect the
changing thoughts of the
text. This piece will be
a gratifying challenge to
the accomplished choir
and would be appropriate
for both service and
concert.
(By Franz Liszt / ed. Maurice Hinson). By Franz Liszt (1811-1886). Edited by Mau...(+)
(By Franz Liszt / ed.
Maurice Hinson). By Franz
Liszt (1811-1886). Edited
by Maurice Hinson. For
Piano. Book; CD;
Masterworks; Piano
Collection. Alfred
Masterwork Edition.
Masterwork; Romantic.
Early Advanced. 24 pages.
Published by Alfred Music
Publishing
By Franz Liszt. Edited by Maurice Hinson. For Piano. Piano Collection. Masterwor...(+)
By Franz Liszt. Edited by
Maurice Hinson. For
Piano. Piano Collection.
Masterwork. Level: Early
Advanced (grade 6 ).
Book. 24 pages. Published
by Alfred Publishing.
Composed by Franz Liszt (1811-1886). For Piano. New Liszt Edition: Supplement Se...(+)
Composed by Franz Liszt
(1811-1886). For Piano.
New Liszt Edition:
Supplement Series.
Classical. Softcover
score. 258 pages.
Published by Editio
Musica Budapest
Piano SKU: HU.HN465 Original Version and First Edition of the Early Version. Co...(+)
Piano
SKU: HU.HN465
Original Version and
First Edition of the
Early Version. Composed
by Franz Liszt. Edited by
Maria Eckhardt. Piano
Solo, Piano and Keyboard,
Repertoire, Solos.
Consolations. Classical,
Romantic. Softcover Book.
48 pages. G. Henle
#HN465. Published by G.
Henle (HU.HN465).
Chamber Music Piano SKU: PR.510078420 Composed by Franz Liszt. New Liszt ...(+)
Chamber Music Piano
SKU: PR.510078420
Composed by Franz Liszt.
New Liszt Edition,
Supplements. Classical.
Full score. With Standard
notation. Editio Musica
Budapest #510-07842.
Published by Editio
Musica Budapest
(PR.510078420).
UPC:
680160624973.
The
New Liszt Edition in
Series I and Series II
published the final
versions of all Liszt
piano solo works,
original and
arrangements. The
Supplement Series
presents earlier and
alternate editions of
Liszt piano solo works,
and Volume 10 covers
Consolations, Grand solo
de concert, Wilde Jagd,
Magnificat, Ave Maria,
and more.
Harp SKU: HL.14007563 Harp Solo. Composed by Per Norgard. Music Sa...(+)
Harp
SKU:
HL.14007563
Harp
Solo. Composed by Per
Norgard. Music Sales
America. Classical. Book
[Softcover]. 6 pages.
Music Sales #KP01320.
Published by Music Sales
(HL.14007563).
ISBN
9788759867587. UPC:
888680753047.
10.5x14.0x0.033
inches.
Consolation
- Like A Roselike Flower
(Consolazione - Flos Ut
Rosa) for Harp solo by
Per Norgard (2002).
Written for and dedicated
to Tine Rehling.
Programme note by the
composer: The concept of
Mary has a depth that
transcends all religious
persuasions. All over the
earth symbols of the
gentle and maternal are
known. But the word
'Maria' is also
associated - in sound -
with the Latin word for
the sea, mare, and she
thus become the Star of
the Sea, Maris
Stella. In my 3rd
Symphony the Maria motif
is used in a hymn section
in the second, and last,
part of the work. The
choral song “Flos
ut rosa floruit”
was composed directly in
the context of the
symphony, and themelody
had a 'stamina' that
carried it over into many
later vocal and choral
compositions, for
instance the
“Concerto for Harp
No. 2 - through
thorns” (2003) and
the present Consolazione
for harp solo , both
works dedicated to Tine
Rehling. .
10-Pack Listening
CDs. Composed by
Joseph M. Martin. Harold
Flammer Easter. Holy
Week, Lent. CD only.
Published by Shawnee
Press (HL.35028637).
ISBN 9781476868066.
UPC: 884088792411. 5x5
inches.
10-Pack
Listening CDs:
Inspired by Celtic music
traditions, this new work
for Lent or Holy Week
presents Christ's journey
to the cross. Utilizing
folk songs, hymns and
newly composed sacred
songs, the music adorns
the heart-felt message of
God's love and grace
displayed in Christ's
redemptive work on
Calvary. A thoughtful
narration weaves the
movements of the work
together with Scripture,
prayer and poetry, while
delivering a reflective
message of hope and
assurance. Gentle
orchestrations capture
the Celtic spirit of the
music in a smaller, more
restrained approach in
keeping with Holy Week
considerations. A full
line of support products
is available. Duration:
approx. 30 minutes.
Titles include:
Prologue, The Song of
the Cross, A Celtic
Hosanna, Come to the
Upper Room, The Garden of
Tears, The Carpenter, A
Tree Once Stood,
Consolation of the Cross,
Epilogue. Available
separately: SATB,
Listening CD, Preview
Pack (Book/CD),
StudioTrax CD
(Accompaniment only),
RehearsalTrax CDs,
10-Pack Listening CDs,
Digital Resource Kit,
Chamber Orchestration
(Score & Parts for
Soprano Recorder/Penny
Whistle, Alto Recorder,
Oboe/English Horn,
Clarinet 1&2, Bassoon,
Horn 1&2, Trumpet 1-3,
Trombone 1&2, Tuba,
Timpani, Percussion 1&2,
Harp, Piano, Violin 1&2,
Viola, Cello, Double
Bass) and Chamber
Orchestration CD-ROM.
Duration: ca. 30:00.