Composed by Byron Adams. Recital Music, Partita/Variations. Christmas, Lessons and Carols, 21st Century. Score. Duration 6 minutes, 45 seconds. E.C. Schirmer Publishing #8764. Published by E.C. Schirmer Publishing

By Giovanni Battista Vitali (1632-1692). Edited by Alessandro Bares. For solo violin. This edition: Paperback. I piaceri del violino. Baroque. Published by Musedita Edizioni Musicali

Woodwind quintet

SKU: P2.10003

Composed by Ben Hase. Chamber music, 20th century. Published by Potenza Music (P2.10003).

Incursion is a three movement interconnected work. Each movement is written in a contrasting style but common elements and figures exist within each linking them together. Movement I involves Baroque style imitative counterpoint, while movement II employs minimalistic repetition. The final movement bridges key melodic, rhythmic, harmonic and figurative elements while introducing new thematic material. The use of the contrabassoon in the second and third movements extends the overall range of the ensemble and adds a distinct edge to the dissonant sonorities of the final two movements.

By Giovanni Battista degli Antonii. Edited by Antonio Moccia. For violin and basso continuo. This edition: Paperback. I piaceri del violino. Baroque. Score and set of parts. Published by Musedita Edizioni Musicali

Chorus and piano (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.EB-32034

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Edition Breitkopf. Cantata; Baroque. Piano/Vocal Score. Duration 9'. Breitkopf and Haertel #EB 32034. Published by Breitkopf and Haertel (BR.EB-32034).

ISBN 9790004186398. 7.5 x 10.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Guitar and Orchestra

SKU: IS.GOR14009AEM

Composed by Karl Kohaut. Arranged by Victor Van Puijenbroeck. Plucked - Guitar. Metropolis Music Publishers #GOR14009AEM. Published by Metropolis Music Publishers (IS.GOR14009AEM).

ISBN 9790365000616.

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent, considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene, he was most well-known as a lutenist. Composing a total of seven lute concertos during his lifetime, this Concerto in F Major, No. 1 is the most popular. It is in three movements: Allegro, Adagio, and Tempo di Minuetto. This edition includes the full orchestral score, orchestral parts, as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score, Guitar (or Lute) - separate parts included for each instrument, Violin I, Violin II, Cembalo/Cello/Contrabass.

Organ solo - Intermediate

SKU: EC.9245

Composed by Byron Adams. Score. E.C. Schirmer Publishing #9245. Published by E.C. Schirmer Publishing (EC.9245).

UPC: 600313492457.

By ron Adams's Suite in Olden Style for organ solo looks back at Baroque forms in a contemporary manner. This score can be played in its entirety, but each movement can be played singly and in any combination with any other movement as the player sees fit. The four movements that comprise the Suite in Olden Style are appropriate for either a religious service or in recital.

 

T he first movement, Sinfonia, is based on the Advent chorale Nun komm, der Heiden Heiland (Savior of the Nations, come). The second movement is a reflective fugue, while the third movement is a pensive Siciliana. The last movement, Rigaudon, is extroverted, lively, and brilliant.

 

Contents:

I. Sinfonia
II. Fugue
III. Siciliana
IV. Rigaudon

by Franz Zeidler. For alto recorder. Fun With. All styles. Level: Beginning. Book. Method. Size 8.75x11.75. 32 pages. Published by Mel Bay Pub., Inc.

Violin 2 (solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-16

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-16. Published by Breitkopf and Haertel (BR.OB-32034-16).

ISBN 9790004350904. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Composed by Jean-Philippe Rameau (1683-1764). Edited by Benoit Dratwicki / Julien Dubruque / Sylvie Bouissou. For Tenor voice solo. This edition: Urtext edition. Paperback. Operatic arias. Piano reduction. Published by Baerenreiter Verlag

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 3 trombones, 2 violins, viola, basso continuo

SKU: CA.9700314

Viennese version. Composed by Giovanni Battista Pergolesi. Edited by Martin Haselbock. Arranged by Ignaz Xaver Ritter von Seyfried, Joseph Leopold Eybler, and Otto Nicolai. Stabat Mater (Satb Arr.Salieri) Spira. Sacred vocal music, Lent and Passiontide, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Cello/Double Bass. Composed 1736/1800/1843. 12 pages. Duration 35 minutes. Carus Verlag #CV 97.003/14. Published by Carus Verlag (CA.9700314).

ISBN 9790007238780. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

Piano - Level 4-5

SKU: DB.01-00604

Preludes I-XII. Composed by Robert Schollum. Keyboard music. Composed 1974 - 1982. Op. 113. 19 pages pages. Doblinger Music Publishers #01-00604. Published by Doblinger Music Publishers (DB.01-00604).

In book 1 the twelve Preludes are completely varied and offer a marvellous contrast to those of the baroque. Their use will serve to show the vast changes in compositional techniques in the two century gap. Tempi changes and instructions regarding interpration.

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 3 trombones, 2 violins, viola, basso continuo

SKU: CA.9700300

Viennese version. Composed by Giovanni Battista Pergolesi. Edited by Martin Haselbock. Arranged by Ignaz Xaver Ritter von Seyfried, Joseph Leopold Eybler, and Otto Nicolai. This edition: Paperbound. German title: Stabat Mater (Satb Arr.Salieri) Spira. Sacred vocal music, Lent and Passiontide, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Full score. Composed 1736/1800/1843. 128 pages. Duration 35 minutes. Carus Verlag #CV 97.003/00. Published by Carus Verlag (CA.9700300).

ISBN 9790007113124. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new.

(solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-54

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-54. Published by Breitkopf and Haertel (BR.OB-32034-54).

ISBN 9790004350966. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.

Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 2.2.chal.0(2) - 2.2.0.0. - timp - theorbe - str)

SKU: BR.PB-5593

Urtext. Composed by Jan Dismas Zelenka. Edited by David Erler. Choir; Softbound. Partitur-Bibliothek (Score Library).

Royal Funeral Music

Requiem; Baroque. Full score. 176 pages. Breitkopf and Haertel #PB 5593. Published by Breitkopf and Haertel (BR.PB-5593).

ISBN 9790004214039. 10 x 12.5 inches.

For the funeral rites after the death of King Augustus I. of Saxony (Augustus the Strong), Zelenka composed the Requiem in D (ZWV 46) and the Officium Defunctorum (ZWV 47), both integral parts of the exequies for the Saxon-Polish ruler. Zelenka had to finish this work in a great hurry, and implemented - suitable to the occasion - an impressing abundance of sound colors and inventiveness: muted trumpets and horns, chalumeau, obligate fagotti as well as extremely virtuoso solo parts and fully developed counterpoints in the choral settings. With the present Urtext edition David Erler is closing one of the last gaps in the series of large-scale sacred works of Zelenka in Breitkopf & Hartel's catalog.Have a look into the piano vocal score.

By Heinrich Ignaz Franz Biber. Edited by Alessandro Bares. For solo violin. This edition: Paperback. I piaceri del violino. Baroque. Published by Musedita Edizioni Musicali

For Two BB Trumpets and Piano. By Johann Pachelbel. Arranged by Daniel Dorff. Brass duo. For Trumpet I, Trumpet II, Piano. Baroque. Set of parts. 4 pages. Published by Theodore Presser Company.

By Valeaira Luppens and Greg Foreman. Book; CD; Classroom/Pre-School; General Music and Classroom Publications; Other Classroom. 140 pages. Published by Alfred Music

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 3 trombones, 2 violins, viola, basso continuo

SKU: CA.9700311

Viennese version. Composed by Giovanni Battista Pergolesi. Edited by Martin Haselbock. Arranged by Ignaz Xaver Ritter von Seyfried, Joseph Leopold Eybler, and Otto Nicolai. Stabat Mater (Satb Arr.Salieri) Spira. Sacred vocal music, Lent and Passiontide, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Violin 1. Composed 1736/1800/1843. 16 pages. Duration 35 minutes. Carus Verlag #CV 97.003/11. Published by Carus Verlag (CA.9700311).

ISBN 9790007238759. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

By Giovanni Battista Fontana. Edited by Alessandro Bares. For violin and basso continuo. This edition: Paperback. I piaceri del violino. Early Baroque. Score and set of parts. Published by Musedita Edizioni Musicali

By Johann Sebastian Bach (1685-1750). Arranged by J. Michael Leonard. For Clarinet. Solos. Bill's Music Shelf. Classic. Intermediate. Book. 48 pages. Published by Mel Bay Publications, Inc

Organ

SKU: HL.50510992

Preludes and Fugues I. By Tamas Zaszkaliczky. By Johann Sebastian Bach. Arranged by Tamas Zaszkaliczky. Baroque. EMB. Volume 1. Classical. Book Only. 108 pages. Editio Musica Budapest #Z12927. Published by Editio Musica Budapest (HL.50510992).

ISBN 9790080129272. UPC: 073999121728. 13.0x9.5x0.402 inches. Hungarian, English, German, French. Johann Sebastian Bach; Tamas Zaszkaliczky.

Johan n Sebastian Bach's complete organ works will be published divided into eleven volumes. Substantial and musically relevant deviations between the various sources are included as footnotes leaving the performer to decide which version he should go by.The notation of this edition agrees with present-day notational practice.

(solos: SATB - 0.0.0.0. - 0.0.0.0. - 2 cornetts ad lib. - str - bc)

SKU: BR.OB-32034-53

Cantata for Easter - Urtext. Composed by Johann Kuhnau. Edited by David Erler. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Sheet Music. Duration 9'. Breitkopf and Haertel #OB 32034-53. Published by Breitkopf and Haertel (BR.OB-32034-53).

ISBN 9790004350959. 10 x 12.5 inches.

The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.