Piano Accompaniment, Soprano SKU: HL.329321 Soprano Edition. Compo...(+)
Piano Accompaniment,
Soprano
SKU:
HL.329321
Soprano
Edition. Composed by
Various. Edited by
Richard Walters. Vocal
Collection. Broadway,
Musicals. Softcover. 200
pages. Published by Hal
Leonard (HL.329321).
ISBN 9781540083432.
UPC: 840126905694. 9x12
inches.
134 songs
particularly good for
auditions have been
selected from Volumes 1-7
of the Singer's Musical
Theatre Anthology and
professionally edited for
a 30-40 second ?16-bar?
version, retaining the
original
key.
Contents: Ah!
Sweet Mystery of Life ?
All That Matters ? Almost
Real ? Another Suitcase
in Another Hall ? Another
Winter in a Summer Town ?
Art Is Calling for Me ?
The Beauty Is ? Bewitched
? Beyond My Wildest
Dreams ? A Call from the
Vatican ? Can't Help
Lovin' Dat Man ? Children
of the Wind ? Children
Will Listen ? Come to My
Garden ? Cry like the
Wind ? Daddy's Girl ?
Dear Friend ? Falling in
Love with Love ? Feelings
? Follow Your Heart ? For
the First Time in Forever
(Broadway Version) ? From
Chopin to Country ? The
Glamorous Life ? Glitter
and Be Gay ? The Golden
Ram ? Gooch's Song ?
Green Finch and Linnet
Bird ? Hello, Young
Lovers ? Home ? Home ?
How Lovely to Be a Woman
? I Could Have Danced All
Night ? I Don't Know His
Name ? I Don't Know What
I'd Do Without You ? I
Feel Pretty ? I Have a
Love ? I Have Confidence
? I Have Dreamed ? I Have
to Tell You ? I Know It's
Today ? I Wonder What
Became of Me ? I'll Know
? I'm Leaving You ? I've
Decided to Marry You ? If
I Loved You ? If I Were a
Bell ? In His Eyes ? In
My Life ? Inside Out ? Is
It Really Me? ? It Never
Was You ? Let Us Be Glad
? Like a Woman Loves a
Man ? Listen to Your
Heart ? Love, Look Away ?
Love Makes Such Fools of
Us All ? Lovely ? Make
Believe ? Matchmaker ?
Migratory V ? Mister Snow
? Moonfall ? Morning
Person ? Mr. Right ? Much
More ? My Favorite Things
? My Funny Valentine ? My
Lord and Master ? My Ship
? My True Love ? My White
Knight ? Nelson ? Never ?
No One Is Alone - Part I
? No Other Love ? Not a
Day Goes By ? Nothing Is
Too Wonderful to Be True
? Nothing Stops Another
Day ? Old Maid ? On the
Steps of the Palace ?
Once You Lose Your Heart
? One Boy (Girl) ? One
More Kiss ? Only Love ?
Out of My Dreams ? People
Will Say We're in Love ?
Practically Perfect ?
Raining ? Raunchy ?
Ribbons down My Back ?
Rosa's Confession ? The
Saga of Jenny ? The
Secret Service ? Show Me
? The Simple Joys of
Maidenhood ? So in Love ?
So Many People ? Some
Things Are Meant to Be ?
Somebody, Somewhere ? The
Song That Goes like This
? Sons of (Fils De) ?
Soon ? Speak Low ? Take
Me to the World ? Ten
Minutes Ago ? Thank
Goodness ? That Dirty Old
Man ? That'll Show Him ?
There's a Small Hotel ?
There's Music in You ?
Think of Me ? This Is All
Very New to Me ? This
Place Is Mine ? Till
There Was You ? To Build
a Home ? Too Much in Love
to Care ? Tour de France
? Unexpected Song ?
Unusual Way ? Vanilla Ice
Cream ? Waiting ? Waitin'
for My Dearie ? What More
Do I Need? ? When Did I
Fall in Love ? When He
Sees Me ? When There's No
One ? Where or When ?
When Was I Born? ? Will
He Like Me? ? Will You? ?
Wishing You Were Somehow
Here Again ? With You ?
Without You ? The Wo.
Book/Online Audio Guitar SKU: HL.137903 How to Choose and Play the Rig...(+)
Book/Online Audio Guitar
SKU: HL.137903
How to Choose and Play
the Right Guitar Chords
Updated Edition.
Book. Chords, Music /
General. Softcover Audio
Online. 256 pages.
Published by Backbeat
Books (HL.137903).
ISBN 9781495001512.
UPC: 888680029395.
8.5x11.0x0.651 inches.
Rikki
Rooksby.
Chord
Master is a chord
dictionary with a
difference. Rather than
just show chord shapes -
which are all there in
the Chord Matrix - a
large portion of the book
explains how to use
chords, with information
about the theory behind
them, and attempts to
answer the questions
guitarists often have
about chord shapes. Also,
it presents usable groups
of chords for beginners
in relation to a variety
of song styles. This new,
revised edition
emphasises the practical
and is even more useful
to beginners, with
expanded exercises and
more audio. The
multimedia component has
roughly doubled the
number of tracks and is
30 minutes longer. Some
audio examples have a
backing track arranged to
stress melodic and
rhythmic elements so that
when the reader puts the
chords alongside, the
effect is marked,
sometimes allowing for
re-harmonizing the same
music with a different
chord progression, or a
chord progression played
in more than one area of
the guitar. The notation
of the chord progressions
is partly redesigned,
making it easier to read.
This will also make this
part of the book more
attractive to the casual
browser. More chord types
have been added to Chord
Master's Matrix
(dictionary) section,
with new material about
balanced chords (which
remove ineffective or
unnecessary doublings of
notes) and about
effective chord voicing.
The section about chords
from famous songs is
expanded with more
examples of unusual
chords, including ones
that players are often
curious about - one of
the most famous examples
is the first chord of A
Hard Day's Night..
SKU: CA.5022200 Composed by Josef Gabriel Rheinberger. Edited by Sebastia...(+)
SKU: CA.5022200
Composed by Josef Gabriel
Rheinberger. Edited by
Sebastian Hammelsbeck.
This edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Ensemblemusik Mit
Begleitung. Secular
choral music. Full score
(complete edition /
selected edition). 224
pages. Carus Verlag #CV
50.222/00. Published by
Carus Verlag
(CA.5022200).
ISBN
9790007090296.
This
volume contains
Rheinberger's choral
works with accompaniment
which are not ballads.
These compositions, some
of which are unknown
today, merit a
rediscovery and offer a
wide range of different
scorings: Included among
them are compositions for
mixed voices, for women's
choir and men's choir.
Most of them can be
performed either chorally
or with a group of
soloists. Rheinberger's
romantic-idyllic setting
of Eichendorff's Die
Nacht op. 56, with the
unusual accompaniment of
a piano quartet, is very
attractive. In the Hymnus
an die Tonkunst op. 179 a
wind orchestra is added
to the choir. The
remaining works are with
piano accompaniment.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Composed by Gioachino
Rossini. Edited by
Patricia B. Brauner and
Philip Gossett. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Choral score. 60
pages. Baerenreiter
Verlag #BA10501_91.
Published by Baerenreiter
Verlag (BA.BA10501-91).
ISBN 9790006536863. 27
x 19 cm inches. Text
Language:
Latin.
ThePetite
Messe solennelleis the
finest work of Rossini's
late years. He composed
it between 1863 and 1864
at the age of 71 as a
commission for Countess
Louise Pillet -Will for
the consecration of her
private chapel, where the
work received its first
performance in March
1864. Together with
theStabat mater, the mass
is one of the composer's
mostimportant sacred
works.
The unusual
instrumentation with two
pianos and harmonium is
entirely in keeping with
the Neapolitan keyboard
tradition of the 18th
century which was
cultivated in France in
Rossini's day. It forms a
distinct contrast to the
style of large-scale
sacred compositions as
written by, for example,
Liszt and Bruckner.
Rossini explained that he
wrote the later
orchestral version of the
work dating from 1867 out
of concern that if he did
not do this, other
composers might
orchestrate the mass too
heavily in later
arrangements.
-
Choral score based on the
Urtext of the seriesWorks
of Gioachino Rossini -
Supplements the already
existing material
available to this
work
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
76 Selections from Musicals, Movies, Folksongs, Novelty Songs, and Popular ...(+)
76 Selections from
Musicals,
Movies, Folksongs,
Novelty
Songs, and Popular
Standards. Composed by
Various. Vocal
Collection.
Softcover. 280 pages.
Published by Hal Leonard
By Howard Skempton (1947-). For SS choir, a cappella. Upper Voices. New Horizons...(+)
By Howard Skempton
(1947-). For SS choir, a
cappella. Upper Voices.
New Horizons. Sacred,
Choral Leaflet. Vocal
score. 4 pages. Duration
3.5'. Published by Oxford
University Press
Composed by Bohuslav
Martinu. Edited by
Aleš Brezina. This
edition: complete
edition, urtext edition.
Linen. The Bohuslav
Martinu Complete Edition
IV/3/2. Complete edition,
Score, anthology.
Baerenreiter Verlag
#BA10576_01. Published by
Baerenreiter Verlag
(BA.BA10576-01).
ISBN
9790260108363. 33.3 x 26
cm inches. Language: CS,
Text Language: CZ.
Preface: Brezina,
Aleš.
ThePetite
Messe solennelleis the
finest work of Rossini's
late years. He composed
it between 1863 and 1864
at the age of 71 as a
commission for Countess
Louise Pillet -Will for
the consecration of her
private chapel, where the
work received its first
performance in March
1864. Together with
theStabat mater, the mass
is one of the composer's
mostimportant sacred
works.
The unusual
instrumentation with two
pianos and harmonium is
entirely in keeping with
the Neapolitan keyboard
tradition of the 18th
century which was
cultivated in France in
Rossini's day. It forms a
distinct contrast to the
style of large-scale
sacred compositions as
written by, for example,
Liszt and Bruckner.
Rossini explained that he
wrote the later
orchestral version of the
work dating from 1867 out
of concern that if he did
not do this, other
composers might
orchestrate the mass too
heavily in later
arrangements.
-
Choral score based on the
Urtext of the seriesWorks
of Gioachino Rossini -
Supplements the already
existing material
available to this
work
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
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
Chamber Music Trumpet SKU: CF.W2686 For Trumpet in B-flat. Compose...(+)
Chamber Music Trumpet
SKU: CF.W2686
For Trumpet in
B-flat. Composed by
Jean-Baptiste Arban.
Edited by Thomas Hooten
Jennifer Marotta. SWS.
Collection - Performance.
With Standard notation.
32 pages. Carl Fischer
Music #W2686. Published
by Carl Fischer Music
(CF.W2686).
ISBN
9781491150948. UPC:
680160908448. 9x12
inches.
This new
edition of Jean Baptiste
Arban's Fourteen
Characteristic Studies
for Trumpet in Bb, edited
by Thomas Hooten and
Jennifer Marotta, was
specifically written to
provide the student with
suitable material with
which to test his powers
of endurance, according
to Arban himself. The
following fourteen
studies have been
specifically written to
provide the student
withsuitable material
with which to test his
powers of endurance. In
taking up these studies,
he willdoubtless be
fatigued, especially at
the outset, by those
numbers requiring an
unusual length ofbreath.
However, through careful
study and experience he
will learn to overcome
the difficultiesand will
acquire the resources
which will enable him to
master this particular
phase of playingwith
ease. As a means to this
end, attention is drawn
to cantabile passages in
particular, whichshould
be played with the utmost
expression, yet at the
same time with as much
modified toneas possible.
On the cornet, as with
the voice, clear tones
may be obtained by
widening thelips and
veiled tones by
contracting them. This
happy circumstance allows
the performer
anopportunity to rest
while still continuing to
play, and at the same
time enables him to
introduceeffective
contrasts into the
execution. It should be
noted that by little
artifices of this kind,
andby skillfully
conserving his resources,
the player will reach the
end of the longest and
mostfatiguing pieces, not
only without difficulty,
but even with a reserve
of strength and
power,which, when brought
to bear on the final
measures of a
performance, never fails
to impress anaudience.At
this point my task as
professor (using the
written instead of the
spoken word) will
end.There are things
which appear clear enough
when stated verbally but
which when written downon
paper cause confusion,
seem obscure, and even
sometimes appear
trivial.There are other
things of such an
elevated and subtle
nature that neither
speech nor wordcan
clearly explain them.
They are felt, they are
conceived, but they are
not to be explained;and
yet these things
constitute the elevated
style, the grand ecole,
which it is my ambition
toestablish for the
cornet, just as they
already exist for singing
and for the various kinds
of otherinstruments.Those
of my readers who are
ambitious and who want to
attain this high level of
perfection,should above
all things, always try to
hear good music well
interpreted. They must
seek out,among singers
and instrumentalists, the
most illustrious models,
and by doing this
purifytheir taste,
develop their sentiments,
and bring themselves as
near as possible to that
which isbeautiful.
Perhaps then the innate
spark which may someday
be destined to
demonstrate theirown
talent, will reveal
itself and render them
worthy of being, in their
turn, cited and
imitatedin the
future.
Chamber Music trombone SKU: CF.W2687 For Trombone. Composed by Jea...(+)
Chamber Music trombone
SKU: CF.W2687
For Trombone.
Composed by Jean-Baptiste
Arban. Edited by Alan
Raph. SWS. Collection -
Performance. With
Standard notation. 32
pages. Carl Fischer Music
#W2687. Published by Carl
Fischer Music (CF.W2687).
ISBN 9781491150955.
UPC: 680160908455. 9x12
inches.
This new
edition of Jean Baptiste
Arban's Fourteen
Characteristic Studies
for Trombone, edited by
Alan Raph, was
specifically written to
provide the student with
suitable material with
which to test his powers
of endurance, according
to Arban himself. The
following fourteen
studies have been
specifically written to
provide the student
withsuitable material
with which to test his
powers of endurance. In
taking up these studies,
he willdoubtless be
fatigued, especially at
the outset, by those
numbers requiring an
unusual length ofbreath.
However, through careful
study and experience he
will learn to overcome
the difficultiesand will
acquire the resources
which will enable him to
master this particular
phase of playingwith
ease. As a means to this
end, attention is drawn
to cantabile passages in
particular, whichshould
be played with the utmost
expression, yet at the
same time with as much
modified toneas possible.
On the cornet, as with
the voice, clear tones
may be obtained by
widening thelips and
veiled tones by
contracting them. This
happy circumstance allows
the performer
anopportunity to rest
while still continuing to
play, and at the same
time enables him to
introduceeffective
contrasts into the
execution. It should be
noted that by little
artifices of this kind,
andby skillfully
conserving his resources,
the player will reach the
end of the longest and
mostfatiguing pieces, not
only without difficulty,
but even with a reserve
of strength and
power,which, when brought
to bear on the final
measures of a
performance, never fails
to impress anaudience.At
this point my task as
professor (using the
written instead of the
spoken word) willend.
There are things which
appear clear enough when
stated verbally but which
when writtendown on paper
cause confusion, seem
obscure, and even
sometimes appear
trivial.There are other
things of such an
elevated and subtle
nature that neither
speech norword can
clearly explain them.
They are felt, they are
conceived, but they are
not to be explained;and
yet these things
constitute the elevated
style, the grand ecole,
which it is my ambition
toestablish for the
cornet, just as they
already exist for singing
and for the various kinds
of otherinstruments.Those
of my readers who are
ambitious and who want to
attain this high level
ofperfection, should
above all things, always
try to hear good music
well interpreted.
Theymust seek out, among
singers and
instrumentalists, the
most illustrious models,
and by doingthis purify
their taste, develop
their sentiments, and
bring themselves as near
as possible tothat which
is beautiful. Perhaps
then the innate spark
which may someday be
destined todemonstrate
their own talent, will
reveal itself and render
them worthy of being, in
their turn,cited and
imitated in the
future.
Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Set of
Orchestra Parts. Composed
1714. BWV 182. Duration
30 minutes. Carus Verlag
#CV 31.182/19. Published
by Carus Verlag
(CA.3118219).
ISBN
9790007136949. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck.
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 and
parts 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. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Viola 1. Composed 1714.
BWV 182. 8 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/12. Published by
Carus Verlag
(CA.3118212).
ISBN
9790007050290. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck.
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 and
part 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. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Viola 2. Composed 1714.
BWV 182. 8 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/13. Published by
Carus Verlag
(CA.3118213).
ISBN
9790007050306. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck.
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 and
part available separately
- see item
CA.3118200.
Soprano and Chamber Orchestra SKU: BT.EMBZ12021 Composed by Gyorgy Kurtag...(+)
Soprano and Chamber
Orchestra
SKU:
BT.EMBZ12021
Composed
by Gyorgy Kurtag. Score
Only. Composed 1982. 144
pages. Editio Musica
Budapest #EMBZ12021.
Published by Editio
Musica Budapest
(BT.EMBZ12021).
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.
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.