| Big Country Ensemble de Percussions - Intermédiaire Tapspace Publications
By Bela Fleck. Arranged by Olin Johannessen. Percussion Ensemble. For Marimba 1 ...(+)
By Bela Fleck. Arranged
by Olin Johannessen.
Percussion Ensemble. For
Marimba 1 (low F or low
A), marimba 2 (low E) , 2
vibraphones, xylophone,
glockenspiel, shaker, 3
different-sized
triangles, small drumset
(snare, kick, hihat, 2 or
3 cymbals), bass guitar,
5-octave marimba
(optional), soprano sax
(optional). (players).
For percussion ensemble
and rhythm section.
Level: Medium-Difficult.
Full score and CD-Rom
(containing printable
parts). 14 pages.
Duration 3:00. Published
by Tapspace Publications.
$46.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:30. Published
by Manhattan Beach Music.
(1)$135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:30.
Published by Manhattan
Beach Music.
$22.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Live On Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU: CF.YPS212
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor. Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suite Pepper Marimba C. Alan Publications
(9 Spicy Sequential Solos for Developing 4-Mallet Marimba Chops). By Brett Jones...(+)
(9 Spicy Sequential Solos
for Developing 4-Mallet
Marimba Chops). By Brett
Jones. For Marimba
(4-mallet) (marimba
(4.3-octave)). Medium
easy to medium. Duration
20:00. Published by C.
Alan Publications
$20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Essentials of Music Theory -- Software, Version 3 Network Version, Complete Volume Théorie de la musique Alfred Publishing
(For 5 usersâ??$40 each additional user). By Andrew Surmani, Karen Farnum Surma...(+)
(For 5 usersâ??$40 each
additional user). By
Andrew Surmani, Karen
Farnum Surmani, and
Morton Manus. Reference
Textbooks; Software;
Textbook - General;
Theory. Essentials of
Music Theory. Published
by Alfred Music
Publishing
$599.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Bass Concerto No. 3 Orchestre [Conducteur d'étude / Miniature] G. Henle
Double Bass; Orchestra (STUDY SCORE) SKU: HL.51487451 Study Score....(+)
Double Bass; Orchestra
(STUDY SCORE) SKU:
HL.51487451 Study
Score. Composed by
Serge Koussevitzky.
Edited by Tobias Glö
and ckler. Henle Study
Scores. Classical.
Softcover. 92 pages. G.
Henle #HN7451. Published
by G. Henle
(HL.51487451). UPC:
196288158110.
6.75x9.5x0.294
inches. Thanks to
its skilful combination
of Romantic melody and
sparkling virtuosity,
KoussevitzkyÂ’s Double
Bass Concerto op. 3 has
been one of the most
popular works of its
genre since its Moscow
premiere in 1905. No
wonder, for the virtuoso
double bass player
Koussevitzky had composed
it for his very own
instrument. As early as
1906/07 a first piano
reduction was published
in Moscow, followed by a
second in 1910 in
Leipzig. However, both
contain so many mistakes
in the solo part that
there is still
uncertainty about the
correct musical text in
many passages to this
day. The double bass
player Tobias Glöckler
has therefore prepared
his Urtext edition using
several sources: as well
as the manuscript
performance material and
the piano reductions
published during the
composer's lifetime, he
has also studied
recordings with
Koussevitzky as soloist -
thereby finally producing
a
thoroughly-researchedUrte
xt edition of the
orchestral score and
piano reduction of this
classic of the double
bass literature. As with
all double bass concertos
published by Henle
Publishers, this edition
also contains the piano
reduction by Christoph
Sobanski in two keys (E
minor and F sharp minor)
for performance with solo
or orchestral tuning.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$23.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
$30.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
$195.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Patriotic Treasure Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Composed by Scott Stanton. Build-A-Band. Score and parts. Composed 2009. Duratio...(+)
Composed by Scott
Stanton. Build-A-Band.
Score and parts. Composed
2009. Duration 3 minutes,
45 seconds. Published by
C.L. Barnhouse
(CL.026-3885-00).
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Refining The March Style Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2 SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105). ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major. Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Id?e Fixe Orchestre d'harmonie [Partition] Mitropa Music
((First Movement from the Zeppelin Symphony - Symphony No. 1)). By Thomas Doss. ...(+)
((First Movement from the
Zeppelin Symphony -
Symphony No. 1)). By
Thomas Doss. Mitropa
Music Concert Band. Grade
5. Softcover. Published
by Mitropa Music
$98.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Naïs RCT 49 Chorale SATB Barenreiter
Voice soloists, SATB chorus, orchestra (4Soprano Voice Solo, 4Tenor Voice Solo, ...(+)
Voice soloists, SATB
chorus, orchestra
(4Soprano Voice Solo,
4Tenor Voice Solo, 5Bass
Voice Solo, SATB Choir,
Ballett, Orch) SKU:
BA.BA08857 Opera
with a prologue and 3
acts. Composed by
Jean-Philippe Rameau.
Edited by Pascal
Denécheau. This
edition: complete
edition, urtext edition.
Linen. Jean-Philippe
Rameau. Opera Omnia (OOR)
IV/18. Complete edition,
Score. Duration 12 hours.
Baerenreiter Verlag
#BA08857_00. Published by
Baerenreiter Verlag
(BA.BA08857). ISBN
9790006558209. 33.5 x
25.7 cm inches. Text
Language: French.
Preface: Sylvie Bouissou.
Louis de
Cahusac. The opera
“Naïs†was
premiered on 22 April
1749 at the Acadmie
royale in the
Palais-Royal, Paris, in
celebration of the
signing of the so-called
Treaty of Aachen. It was
revived again in August
1764 shortly before
Rameau’s death and
achieved great success as
the “opera of
peace,†even though
it did not appear in
print during the
composer’s
lifetime.
In
numerous arias Rameau
provides his singers
ample opportunity to
shine, while he reveals
his orchestral mastery,
in particular in the
chaconne and the various
other ballets.
The
work appears here for the
first time in a vocal
score with a keyboard
reduction. The reduction
is by François
Saint-Yves on the basis
of the new critical
edition by Pascal
Dencheau which is part of
Opera Omnia Rameau edited
by Sylvie
Bouissou.
This
edition is the result of
a meticulous comparison
of all known musical
sources. In the main
section, it presents the
version that Rameau
approved for the
performances of 1749. The
appendix contains those
passages that the
composer cut during the
rehearsals in 1749 and
all changes that he
undertook for the 1764
revival.
About
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the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
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| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123012 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123012
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 8 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/12.
Published by Carus Verlag
(CA.3123012). ISBN
9790007210953. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123005 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123005
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Choral
Score. BWV 230. 12 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/05.
Published by Carus Verlag
(CA.3123005). ISBN
9790007051006. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score available
separately - see item
CA.3123000. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123013 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123013
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/13.
Published by Carus Verlag
(CA.3123013). ISBN
9790007210960. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123014 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123014
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/14.
Published by Carus Verlag
(CA.3123014). ISBN
9790007210977. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123011 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123011
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/11.
Published by Carus Verlag
(CA.3123011). ISBN
9790007210946. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Praise ye the Lord, all ye nations (Lobet den Herrn, alle Heiden) Chorale SATB - Intermédiaire Carus Verlag
SATB choir [4 instruments], basso continuo - Level 3 SKU: CA.3123009 L...(+)
SATB choir [4
instruments], basso
continuo - Level 3
SKU: CA.3123009
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Set of
Orchestra Parts. BWV 230.
20 pages. Duration 8
minutes. Carus Verlag #CV
31.230/09. Published by
Carus Verlag
(CA.3123009). ISBN
9790007051013. Key: C
major. Language:
German/English. Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and parts available
separately - see item
CA.3123000. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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